There is an article 'Dengbêj - Kurdish long song and overtone singing' by Nick Hobbs in 2020 where he discusses the use of overtones in dengbêj in some detail. ĭengbêj, the Kurdish-Yazidi style of bardic chanting, often incorporates overtones as part of the chant, and in a way which is distinct from other forms of overtone singing. Īt sumo tournaments, the announcer, called Yobidashi, announces each wrestler's name using overtone throat singing. The last singer of rekuhkara died in 1976, but there are some recordings left. The Ainu of Hokkaidō, Japan once practiced a type of throat singing called rekuhkara, which is now extinct. īalochi Nur Sur is one of the ancient forms of overtone singing and is still popular in parts of Pakistan, Iran, and Afghanistan – especially in the Sulaiman Mountains. The oral poetry of Kazakhstan and the Uzbek region of Karakalpakstan sometimes enters the realm of throat singing. There are different Tibetan throat singing styles, such as Gyuke ( Standard Tibetan: རྒྱུད་སྐད་ Wylie: rgyud skad), which uses the lowest pitch of voice Dzoke ( མཛོ་སྐད་ mdzo skad) and Gyer ( གྱེར་ gyer). Various ceremonies and prayers call for throat singing in Tibetan Buddhism, often with more than one monk chanting at a time. Most often the chants hold to the lower pitches possible in throat singing. Tibetan Buddhist chanting is a subgenre of throat singing, mainly practiced by monks of Tibet, including Khokhonor ( Qinghai) province in the Tibetan plateau area, Tibetan monks of Nepal, Bhutan, India, and various locations in the Himalayan region. The Chukchi people of the Chukchi Peninsula in the extreme northeast of Russia also practice a form of throat singing. They also have their own style, a very high harmonics, emerging from kargyraa. Altai narrators ( kai-chi) perform in kargyraa, khöömei, and sygyt styles, which are similar to those in Tuva. In Altai, this is used mostly for epic poetry performance, to the instrumental accompaniment of a topshur. Tuva's neighbouring Russian regions, the Altai Republic to the west and Khakassia to the northwest, have developed forms of throat singing called kai ( Altay: кай, qay) or khai ( Khakas: хай, xay). The most peculiar melody, from Tuvan tradition, is ' Artii Sayir', mostly performed in kargyraa style. The melodies are traditionally created by using the 6th, 8th, 9th, 10th, 12th, 13th and sometimes the 16th harmonics, which form the major pentatonic scale, so the 7th and 11th harmonics are carefully skipped. Most of the styles are sung with korekteer ( korek 'chest' + teer 'sing'), literally 'to sing with chest voice'. The Tuvan way of singing overtones is based on appreciation of complex sounds with multiple layers or textures, which is how the Tuvans developed a wide range of rhythmic and melodic styles during the centuries.

Tuvan overtone singing is practiced in the Republic of Tuva (southern Siberia, Russia). Mongolians also use many other singing styles such as karkhiraa (literally 'growling') and isgeree.

The most commonly practiced style, called khöömii ( Cyrillic: хөөмий), can be divided up into the following categories: Nowadays, overtone singing is found throughout the country and Mongolia is often considered the most active center of overtone singing in the world. It is thought that the art of overtone singing originated in southwestern Mongolia in today's Khovd Province and Govi Altai region. As mentioned, overtone singing involves the careful manipulations of the vocal tract, whereas throat singing is mostly related to the voice source. Overtone singing should not be confused with throat singing, in spite of the fact that many throat singing techniques comprise overtone singing. This resonant tuning allows singers to create more than one pitch at the same time (the fundamental and one or more selected overtones), while usually generating a single fundamental frequency with their vocal folds. the dimensions and shape of the resonant cavities of the mouth and the pharynx. Overtone singing – also known as overtone chanting, harmonic singing, polyphonic overtone singing, and diphonic singing – is a set of singing techniques in which the vocalist manipulates the resonances of the vocal tract, in order to arouse the perception of additional, separate notes beyond the fundamental frequency being produced.įrom a fundamental pitch, made by the human voice, the belonging harmonic overtones can be selectively amplified by changing the vocal tract, i.e.

Polyphonic overtone singing