Your level
0/5
🏆
Listen to this genre to level up
Description

Tuvan throat singing (khoomei) is a traditional vocal art from the Turkic-speaking people of Tuva in the Sayan–Altai region of southern Siberia.

It is a biphonic technique in which a singer sustains a low drone (the fundamental) while shaping mouth, tongue, and throat to amplify specific overtones, producing the perception of multiple pitches at once.

Distinct styles such as khoomei (soft, airy), sygyt (bright, whistling overtones), and kargyraa (deep, growling undertone) evoke the sounds of wind, rivers, and horse hooves and reflect a nomadic pastoral worldview.

Performances often feature traditional instruments like the igil (two-string bowed fiddle), doshpuluur (lute), shoor (flute), and khomus (jaw harp), and can be either solo or ensemble-based.

History
Origins and Early Practice

Tuvan throat singing likely predates written records, with roots traceable to at least the 13th century. It developed among nomadic herders in the Tuvan steppe and mountain valleys, where singers mimicked natural sounds and honored animist/shamanic beliefs. The technique’s emphasis on the harmonic series aligns with the sonic landscape of open plains and resonant spaces like yurt interiors.

19th–20th Century Documentation

Russian ethnographers and explorers began noting khoomei in the 19th century. In the Soviet period, formal ensembles, state folk troupes, and radio archives expanded documentation, while local masters standardized and taught named styles such as khoomei, sygyt, kargyraa, ezengileer, and borbannadyr. Despite changing cultural policies, khoomei remained a symbol of Tuvan identity.

Global Recognition and Fusion (1990s–Present)

From the 1990s, groups like Huun-Huur-Tu and Shu-De brought Tuvan throat singing to international stages, influencing world fusion, ambient, and experimental scenes. Collaborations with jazz, rock, and electronic musicians showcased khoomei’s versatility. Today, institutions in Kyzyl (Tuva’s capital) host festivals and competitions, while younger ensembles blend traditional styles with contemporary production, ensuring transmission and innovation.

How to make a track in this genre
Core Technique and Tone
•   Begin with a comfortable chest-voice drone on a stable pitch. Keep the larynx relaxed and posture upright. •   Shape vowel formants with lips, tongue, and jaw to isolate overtones from the harmonic series. Move slowly between vowel shapes (e.g., u–o–a–e–i) to "scan" partials. •   For sygyt, aim for a bright whistle-like overtone by narrowing the tongue groove and forward lip rounding. For khoomei (in the narrow sense), maintain a soft, airy timbre with clearly audible overtones. For kargyraa, use ventricular fold engagement to generate a deep subharmonic; practice carefully to avoid strain.
Styles and Ornamentation
•   Khoomei: gentle, breath-rich drone with singing overtones. •   Sygyt: piercing, flute-like overtone melody above the drone. •   Kargyraa: very low growl with powerful, earthy character. •   Ezengileer: rhythmic "stirrups" pulsing that suggests horse riding. •   Borbannadyr/Chylandyk: rapid overtone oscillations and trills.
Pitch Language and Harmony
•   Treat the drone as a tonic. Outline melodies by selecting upper partials (typically 8th–16th harmonics), producing a pentatonic-leaning palette. •   Embrace microtonal inflections and natural harmonic intonation rather than equal temperament.
Rhythm and Form
•   Alternate free-rhythm invocation with pulse-driven sections (e.g., ezengileer ostinati). Use short strophic forms or episodic flows that mirror landscape imagery. •   Employ call-and-response between overtone lines and instrumental riffs.
Instrumentation and Accompaniment
•   Traditional: igil (two-string fiddle), doshpuluur (plucked lute), shoor (end-blown flute), khomus (jaw harp), kengirge (frame drum). Sustain drones or simple ostinati supporting the vocal. •   Contemporary fusion: add subtle percussion, low-register strings, or ambient textures; avoid masking overtones with dense mid-high content.
Texts and Imagery
•   Lyrics often honor rivers, mountains, animals, and riding. If textless, let overtone contours depict natural motion (wind swells, water ripples, hoofbeats).
Practice and Vocal Health
•   Warm up with gentle humming and vowel glides; increase intensity gradually. •   Limit early kargyraa practice to short sessions; hydrate and rest. If pain occurs, stop and re-evaluate technique.
Recording and Mixing
•   Use a condenser mic at moderate distance to capture both drone and overtone. Add a second close mic or contact mic on instruments. •   Light compression and a subtle high-shelf can help articulate overtones; avoid harsh de-essing.
Influenced by
No genres found
Has influenced
No genres found
© 2025 Melodigging
Melodding was created as a tribute to Every Noise at Once, which inspired us to help curious minds keep digging into music's ever-evolving genres.