Alash Ensemble – “Ediski deg Boostaamny”

Alash Ensemble – “Ediski deg Boostaamny”

13,795 views•Mar 25, 2019 4021ShareSaveBeehive Productions 4.09K subscribers Alash Ensemble – “Ediski deg Boostaamny” (My Throat, the Cuckoo) Ayan-ool Sam – Vocals Ayan Shirizhik – Vocals Bady-Dorzhu Ondar – Vocals, doshpuulur A Beehive Field Recording Captured live at Folk Alliance International in Montréal QC, 2019 This song is an old Tuvan tune re-worked by Alash, comparing the singer’s voice to birds and celebrating the awesomeness of Tuvan music in general. Alash are performing in their native Tuvan in a style called “Throat Singing” which is a remarkable technique for singing multiple pitches at the same time. The Ensemble is known internationally for their mastery of both Tuvan throat singing and traditional Tuvan instruments like the doshpuulur seen here. Facebook: Instagram: Folk Alliance International: —- Captured with Peluso Microphone Lab P-414 pair

Regional Distribution of KHOREKTEER and its typology / International Scientific Center of Khoomei, Tuva

Regional Distribution of KHOREKTEER and its typology
Method of performance KHOREKTEER  The method of khorekteer itself is the basis for all archaic styles and therefore each  kind of melodic singing is  unthinkable  without introduction based on this method. 
Other traditional methods of performance whichrequire special professional skills    They exist together with other styles as sub-styles and differ by subtle technical traits in performance. They do not force these styles out and become an integral part enriching their structure. 
Five  styles are  recognized in Tuvan  solo  double-voiced  singing.  These  are five styles: khoomei, sygyt, kargyraa, ezengileer, and borbannadyr  each of which include many  sub-styles.
TYPOLOGY       Style Resonance zone, drone Character of breathing Articulation Melody and musical-expressive specifics Khoomei Middle register F, F sharp, G can be sung with and without words, chest and mouth resonators  Basic (khorekteer), smooth breathing =, \ Overtone melodic (8th-12th overtones) Borbannadyr Lower or middle register, mouth or partially nose resonator Khorekteer, spasmodic rhythm, modulations, middle tension =, \ Without and with melodization Sygyt High and tense Constricted breathing, very tense йо, й, йа can be alternated with text Overtone melodic (8th-12th overtones), song melodic with vibrato Kargyraa Low guttural sound, the open mouth resonates Khorekteer, smooth breathing, open mouth, can be sung with text а, =, \, э open Drone with third turns, overtone melodic (6th-12th overtones, song melodic Steppe kargyraa Low, open, chest, soft, velvet timbre. Outward resonator  Very long breathing а, =, \, э open Overtone or song melodic (6th-12thg overtones) Ezengileer Middle register, vibration with lips Smooth breathing, rhythmic pulsation as in ambling of a horse а, =, и, \, э, ю, я with vibration Quiet overtone melodic, high whistling timbre Chylandyk F sharp, G, middle register, singing without words, mouth resonator Middle in length breathing =, \. Nasal long sound   Folk terminology reflected the timbre of these styles, both as independent timbres and in comparison with other means of sound-extraction.  
KHOOMEI  A bright sound, by its timbre, of a humming middle tessitura, is designated in tales khoomei. Khooledir khoomeileerge cher sirgeini bergen, “during the humming of khoomei, the earth trembled”.  According to our observations the style khoomei  can  be  considered  an  initial  or  basic  style. Khoomeizhis  of  old  and  young  generations  say  that  khoomei  is  the  father  of a forefather of khorekteer. The  majority  of  musicians  prefer  this  style  because  of  its relatively  convenient  sound-extraction  in the middle  register. Deep  sounds  of  khoomei, especially  in  lower  register, resemble  the  unison  of  oboe  and  clarinet. In  ergi  khoomei (old  khoomei), the  basic  ostinato  sound  is  more  deep  than  in the  borbannadyr  style  and  has a more  expressed  overtone  melody. The sounds in khoomei  are  executed  with  closed  lips  as  pronouncing  the  consonant  “v”. This  style  is  intermediate  in  timbre  between  the  sounds  extracted  by schalmeis and trumpets. It  is  mostly  characterized  by  power, richness  in  tone, and melodiousness. In  Tuvan  heroic  tales throat singing appears  as  a   firmly  established  musical  phenomenon. For  example, “a bogatyr (an  epic  hero)  performs  khoomei  with  the  force  of a thousand  people, his  singing  makes  the  earth  and  the  sky  shudder, and  brings  mountain  tops  crashing  down”. Though  the power of this  singing  is  exaggerated to the extreme, the  storyteller  describes  the  force  of  sound  emission  very  accurately. In connection with this  we  should  give  a delicate  remark  of  B.I. Tatarintsev  who  investigated the place and role of  throat  singing  in  Tuvan  epics. He  wrote: “The  traveling  hero’s  throat  singing  is  characterized  by  stock  epithets  of  one  type yndynnyg, yiangylyg, syrynnyg “doleful, plaintive, drawling”  which, apparently, characterize  the uneasy  emotional  state  of  a  hero”. The  researcher  gives  an  example  from  a  variant  of a lyric  tale  about  Khan-Khulyuk. After singing the hero’s “pining chest expands and his crowded thoughts broaden”. Thus, Tatarintsev was the first to note this function of throat singing: to pass time and make oneself comfortable on journey. At  first  glance  it  seems  that  it  is  impossible  to  think  about  a  more  recent  origin  of the khoomei  style  in  comparison  to  other  styles  because  I  find  the same principle of articulation in all the styles  in  the  framework  of  the  given  traditional  musical  culture. However, if  we  delve  deeper  into  the  nature  of khoomei,  with  its  ways  of  intonation, the  assumption  the  recent  origin  of  khoomei  is  well  supported. The  style  of  khoomei, which holds a transitional position between ordinary and double-voiced singing often performs  a  utilitarian  function  as  a  lullaby  song  in  the  special  style  opei  khoomeii (lullaby  khoomei). When performing  this style the  performer  accompanies  his  singing  by  a  rocking  of  his  body  from  one  side  to  another. The  performer  uses  clavicular  breathing. He  sings  the  words  by  moving  his  lips  slightly. The  movements  of  his  lips  are  intermediate  between  speaking  and  singing. While  lulling  a  baby, the  performer  sings through his nose. There  are  scarcely  any  overtone  melodies  in  his  singing. Before  people  the  performer  sings  loudly, with  a  great  support  of the  diaphragm  and  with  a  distinct  pressure  of  pectoral  resonators  while  alone  in  the  yurt, lulling  a baby, the  performer  sings  quietly.
SYGYT    For the designation of a high timbre, there existed the term of sygyt cyyrladyr cygyrtyrga kok deer ayazyp turgan “during the piercing singing of sygyt, the blue sky became clearer”. In the  sygyt  style,  overtones  are  produced  in  a high  whistling  timbre similar to that of the  piccolo in the same register. The  basic  ostinato  moves between the middle tones of the Great octave throughout the piece from la of the first octave to la of the third octave. In sygyt  style  the  vowels  are  not  articulated and the sounds, in  contrast  to  those in  other  styles, are  produced at  an  optimal  strain  of  respiratory  ways. The  main  feature distinguishing  sygyt from  any  other  style  is in the technique of sound extraction: the  root  of  the  tongue  is  moved  forward  and  the melody  is  mostly  produced  by the vibration  of  the  uvula  and its approaching the soft palate. In  sygyt  style  the  uvula  is  the  main  organ  which  regulates the  stream  of  air. Double  voice  usually  appears  in  low  and  high  registers  simultaneously. When  one  voice  is  produced  the  overtones  are  absent. Typical  of the  sygyt  style  are  melodies  ascending  to  high  pitch  sounds. For  example, in kishteer performed by Tumat Gennady, one can hear a glissando ascending an octave up from the 10th and 12th overtones of the 2nd basic ostinato note. Additional overtone sounds  occur as a  tremolo between  two  sounds which also differentiates the  sygyt  style  from  other  styles.
KARGYRAA    A low sound was designated among people as kargyraa kaargyraalaarga khayaa dash kaanayndyr bustup badip turgan, “during the singing of kargyraa, the sheer cliffs vibrated, rumbled, and fell down”. The folk performers divide this style in sub-styles by  timbre  and  pitch. Khovu  kargyraazy (steppe kargyraazy) has a higher, lighter  and  softer  sound while  a lower, louder sound characterizes kozhagar kargyraazy(mountain or cave kargyraazy). The  main  form of the  kargyraa  style  is  singing  with  a  clear  logical semantic  connection  of sounds. It is based on ornamented melodies of wide breath. Timbre  contrast  and  register  amplitude  distinguish different  sub-styles. Among these sub-styles khovu kargyraazy (steppe kargyraa)  is one of the most popular sub-styles of kargyraa. Khovu  kargyraazy is characterized by drawling, soft, and broad sound. This  style  is  performed  to  show  the  spaciousness  of  flat  steppes and mountains. An introduction  with  text  is usually sung. The  basic  ostinato  sound  is  produced  with a half-open  mouth. Overtones alternates with vowels. One of  the vowels а, э, =, \ corresponds  to  each  overtone.             Dag kargyraazy (mountain kargyraa) is also popular. This style is more stern. It expresses the power of the mountains. The timbre is more dense, nasal, and dimly.               The third style is dumchuk  kargyraazy (nasal  kargyraa). A  characteristic  feature  of  this  sub-style  is  a  regular  release  of  air  with a sharp double  inhalation  and  exhalation  through the nose and  mouth. The powerful  vibration  has  a  positive  effect  on  performer’s  lungs and  body.  According to my informants singing in this way  makes  it  possible  to  relax  and  concentrate  oneself  spiritually. When  singing, the  performer  does  not  feel  any  disharmony. The frequency  range  of the produced  sound  is  quite  wide. The sound is more velvet-like, and softer due to the use of nose resonator. This  is a typical style of the traditional Mongun-Taiga performance  school.
BORBANNADYRThe borbannadyr  style  is  related  to the khoomei  style  in respect to intonation. A melodious  introduction using khorekteer  is  performed  with  the  same  position  of  lips (close  to  each  other)  as  with the  khoomei  style. Timbre  norm, intonization  with  falsetto  inflection, narrow modal scale with short stable formulae, and ostinato  strophe  rhythm  with  ornamentation  are  common  to  these  two  styles.   The  mechanism  of  sound  extraction, especially  acoustic  manipulations,  rather  than the steady  melodious  turns  characteristic of the  khoomei  style is  a  more  important  point  in  borbannadyr  style. The coexistence  of  these  two  styles  can  be  explained  as a manifestation  of  the  features  of  an  early  folk  tradition  which  is  characterized  by  an organic  relationship  of  melodic  expression. During a period of singing the tempo increases and the melody becomes more complex, descending by  leaps  from  the twelfth to the seventh overtone, more  rarely  to  the eighth overtone. The  ostinato  sound  remains  intact  but  its  pitch  occasionally  oscillates  within  the three  middle  sounds  of  the Great octave.             Contrary  to  khoomei, the melodious phrase of which is performed within one breath, the borbannadyr  style is  always  interrupted, with the process of breathing plays a lesser role for articulation. The  performer  of  this  style  usually  begins  by reciting  of  the  words  of  a  song typical  only  to the  borbannadyr  style. Here  is  an  example:               Bolur-daa  bol, bolbas-daa  bol            Whether it comes out or itdoesn’t             Borbannadyp  berein  shumna            I shall sing borbannadyr anyways               In  rhythmical  respect  the  tune  is  more  schematic. This  is the  tendency  of  the  schematization  of the  borbannadyr  style  that  involves  outward  ostinato  repetition of musical turn. Similarities  in  the  techniques  of the   khoomei  and  borbannadyr  styles  makes  it  possible  to  pass  from  one  style  to  another. In the  khoomei  style  the lower voice  stops  on  a  sustained (ostinato)  sound  and  the  singer  can  select overtones (which  create  additional  melody, melodious  recitation  with  words  of  a  song)  from  this  sound  while  in the  borbannadyr  style  the  sound  seems  to  throw  away  rolling  sounds  without  words. The  tune  is  based  on an  intonization  approximate  to  onomatopoeia but this is, more likely, not a concrete but somewhat generalized imitation. Therefore, the  melodies  in  khoomei  style,  by  its  very  nature,  are  of  a  radically  different  kind  of  those  in  borbannadyr  style. What’s  more,  if  one  compares  the  peculiarities  of  the  timbres  of  styles of the above styles one  can  get  additional  idea  of  a  concrete  style  too.             In  ensemble  performance of khoomei, kargyraa, and sygyt styles (except onomatopoeic – ezengileer and borbannadyr styles)  the  singers  seek  to  keep  to basic forms, producing  only  slight  additional  tones  which are mostly  ornamental. The  style  borbannadyr  is  traditionally  sung  individually. This  makes it possible  for  a  performer  of  this  style  to  introduce  some  individual  traits  in  the  form  of his rhythmical  intonization. This  style  is  among  the  main  independent  styles  because  it  has  its  own  structure,  a  separate  mechanism  of  sound  extraction, and a  characteristic  timbre  coloring. The  performance  of  this  style does not  require the use of other styles. With regards to  its  tessitura, register, rhythm, and  structure of melodies, borbannadyr  style  represents  quite an independent artistic phenomenon which  can  be  optionally  synthesized  in  order  to  decorate  the  melody  of other  styles. For  example, there are synthesized styles such as borbannadyr  of  sygyt, borbannadyr  of  kargyraa, or borbannadyr  of  khoomei
ESENGILEEREzengileer also have  their  own  peculiarities of rhythm, timbre, and  intonation. Ezengileer  represents  an  independent  style of khorekteer. According  to  old  people, ezengileer  style  has  completely  retained  its  meaning  up  to today.  The  style  itself, as  assumed  by  some  researchers,  seems to be  relatively  recent  in origin. The appearance of   this  style was possible not earlier than 1st millenium AD, that  is, in the time  when the appearance of stirrup in horse harness could  have  a  perceptible  influence  upon  Tuvan music. It is believed that the ezengileer  style  was  formed later than the sygyt  style  but, undoubtedly, it was formed on its basis and in  a  constant  interaction.             If  we compare ezengileer with sygyt it is not difficult to note that  the  performance  of  ezengileer  differs from sygyt by  its slow  singing  and  distinct  scancion. Another distinctive  feature  of the  ezengileer  style  is  the periodic release  of  air  through the  nose with a sharp double exhalation. The  sound-formation  of  styles  is  preconditioned  by  aesthetic  prerequisites, acoustic  peculiarities  of the means  of  sound  extraction, and timber. The  melodious  introduction  is  absent  in  ezengileer  style. Ezengileer style is represented a peculiar, independent phenomenon in function also and  its performance  is  connected  to  horse  riding. The  timbre  of  this  style  is  softer  than  that of the  sygyt  style. The  overtone  melodies  appear  usually  on  8th, 9th, 11th, 12th, and 13th  overtones  from  the  low ostinato sound. 
SUBSTILESIn the  kargyraa  style  alone  one  can  count  more  that  five common freely interchanged motifs: khovu  kargyraazy (steppe  kargyraa), kashpal  kargyraazy (hill kargyraa), dag  kargyraazy (mountain  kargyraa), kozhagar  kargyraazy (mound  kargyraa), oidupaa  kargyraazy (kargyraa  of  the  singer  Oidupaa) and so on.


MISSION Preservation and development of traditional culture of Tuvan throat singing khorekteer. Organization of scientific research for revealing and study of throat singing of the peoples of Sayan-Altai Region and other parts of the world and their propaganda. Creation of archives khorekteer recordings and their analysis. Training and probation of young performers including foreign performers in the experimental laboratory of the center. Participation in international music contests and organization of international symposia, seminars, conferences and festivals of Tuvan throat singing khorekteer. Promotion of scientific-practical international contacts. Social protection of performers.
01.05.2008 We are honored to invite you to participate in the 5th International Ethnomusicology Symposium “Khoomei (throat-singing) is a Cultural Phenomenon of the Peoples of Central Asia” to be held July 25-28, 2008 in Kyzyl, the capital of the Republic of Tuva.
The problems of the functioning and development of throat singing in the different regions will be discussed.
Within the framework of the Symposium the 5th International festival of throat singing with participation of the performers from Moscow, Republic of Altay, Republic of Khakasia, Republic of Buryatia, Republic of Kalmykia, Republic of Yakutia, Republic of Bashkortostan, Mongolia, Kazakhstan, Kyrgyzstan, Turkmenistan, Japan, USA, France, Holland, Austria, Turkey and Norway will be held.
The issues of musical ethnography on following directions will be discussed:
1. Comparative study of double-voiced throat-singing (Khoomei).
2. Genres of traditional music ( ritual music, epos, lyric poetry).
3. Musical instruments and instrumental music.
4. Traditional music and religious systems.
5. Issues of migration of musical phenomena. Interaction of nomadic and settled cultures. Musical folklore as a source of historic information on ethnogenesis of peoples of Central Asia.
 In work of  the symposium scientists of khoomei studies, physicians-physiologists, scientist physicists, musicologists, scientists of folk arts, throat singing performers, also representatives philological, history sciences will take part. Their themes are closely connected with marked problems.
    Registration fee is 300$ US. Different exhibitions, show of movies, trips to the countryside of Tyva are in the program.
The thesis of scientific papers should be no more than 2 A4 (1,5 interval) both in English and Russian languages should be sent not later than 1st April 2008 (Thesis received after the 1st of April will not be included in the final thesis publication).
We kindly ask you to include the best people’s khoomei performers into the list of your delegation (not more than 2 people) to participate in the concert of the traditional music.
Accommodation and travel expenses are paid by participants; food and cultural program are paid by organizing committee of the Symposium.  
We look forward to your acceptance.
Organizing Committee: International Scientific Centre “Khoomei”
                                         46,Shchetinkin-Kravchenko str .
                                      Kyzyl, Republic of Tyva, Russia, 667000
                                      tel: +7 (39422) 2-33-18 fax: +7 (39422) 3-38-97
                                            mobile: +7 913 342-43-87
Khorekteer exists in five style: khoomei, sygyt, kargyraa, borbannadyr, ezengileer. Sub-styles: chylandyk, despen borban, opei khoomei, buga khoomei, kanzyp, khovu kargyraazy, kozhagar kargyraazy, dag kargyraazy, kargyraa of singer Oidupaa, uyangylaar, damyraktaar, kishteer, serlennedyr, byrlannadyr. more>>
The history of investigation of Tuvan throat singing khorekteer accounts more than hundred and fifty years. For the first time khorekteer was recorded in Easten Tuva in 1865. P. Ostrovskinh (1897), E.K. Yakovlev (1989), G.E. Grum-Grzhimailo (1901), A.V. Anokhin (1910), E.V. Gippius (1927), A.N. Aksenov (1944), S.I. Vainshtein (1956) made their contribution in the investigation of Tuvan throat singing khorekteer. more>>
The disk of eminent throat singers Kyrgys Soruktu, Sat Manchakai, Sanchy Kyzyl-ool and M. Kombu was released in 30’s of 20th century. Ak-Ool Kara-Sal, Khomushku Idamchap, Marzhymal Ondar, Maksim Dakpai, Oorzhak Khunashtaar-ool were the followers of khorekteer tradition. They were the ones who contributed to the preservation and development of tradition of Tuvan throat singing khorekteer. more>> 
SHAMANISM IN TUVA Beside songs, tales and legends throat singing khorekteer and shamanic kamlanie are distinguished as main performance traditions which play an important role in the life of Tuvan ethnos. It is practically impossible to combine these forms because they performed different functions in culture of Tuvans. Throat singing khorekteer is an acoustical-physiological phenomenon in its nature and structural parameters tightly connected with lyric songs and instrumental music while shamanic kamlanie is a ritual singing of shaman which is sung by the “voice” of spirits helpers being a intermediary between them.  The main goal of Tuvan shamanism as a belief is to establish harmony between man and his surrounding world. more>>
Ensemble Tyva was founded in Kyzyl in 1987 by musicologist and folklorist Zoya Kyrgys. Its repertoire contains some hundreds folk songs from all districts of Tuva. The performers of this group are the best representatives of Tuvan throat singing khorekeer the fascination of which is in the fact one person produces simultaneously two or three melodic lines. more>>
Director: Z.Kyrgys Copyright © 2003 | Pictures painted by  A.Chernyak | Designed by I.Denisov 667000, Shetinkina-Kravchenko st. 46. Kyzyl, Republic of TYVA Russian Federation
fone +7 (39422) 2-33-18, +7 (39422) 3-38-97, +7 (39422) 1-14-29

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Kongar-ol Ondar & Paul Pena GENGHIS BLUES

Genghis Blues movie poster artKongar-ol Ondar & Paul Pena
Genghis Blues movie poster art


October 2 2005 Update: it is with heavy hearts that we inform you that Paul Pena passed away today.

Genghis Blues

American throatsinger and bluesman Paul Pena had  been diagnosed with pancreatic cancer (and was subsequently rediagnosed with pancreatitis – see for some more detail).

In 1995 Paul travelled to Kyzyl to participate in the Khoomei symposium and placed first in the kargyraa category. This journey was the focus of the documentary “Genghis Blues”. Paul is well known to Friends of Tuva as “Cher Shimjer” (Earthquake), one half of the band Genghis Blues (with Kongar-ol Ondar), and he is also known in the blues world and in the rock world.

Paul had been living with a pancreatic illness for several years. Originally thought to be cancer, it now looks more like pancreatitis.  The generous contributions of people like you made it possible for Paul to receive round the clock care in his apartment in San Francisco.

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Official Web Sites

Articles and Reviews

Here’s a list of references to reviews about the movie, articles about Paul Pena and Roko Belic and Adrian Belic, and related items online. It’s really great to see a few Friends of Tuva chase after a dream and actually realize it.

Video Release

Genghis Blues is now available (as of December, 2000) on videocassette and DVD.


  • Paul’s good friend and long time helper Seth Augustus has released his own CD of Tuvan-influenced music.  Seth has studied under Paul and we refer you to his CD as a small thanks for his efforts in helping Paul over the years.

Sigit, Kargiraa and Khoomei by Gennadi Tumat

Sigit, Kargiraa and Khoomei

583 views•Nov 8, 2014 110ShareSaveGennadi Tumat – Topic 33 subscribers Provided to YouTube by The Orchard Enterprises Sigit, Kargiraa and Khoomei · Traditional · Tuva Ensemble · Gennadi Tumat Tuva—Voices from the Land of the Eagles ℗ 1991 PAN Records Released on: 1991-10-01 Screenplay Author: Traditional Auto-generated by YouTube.

Uglee shaazgai (Colourful Magpie) by Egschiglen band

Uglee shaazgai (Colourful Magpie)

1,047 views•Feb 8, 2015 211ShareSaveEgschiglen – Topic 227 subscribers Provided to YouTube by NAXOS of America Uglee shaazgai (Colourful Magpie) · Egschiglen Egschiglen: Sounds of Mongolia ℗ 2001 ARC Released on: 2001-01-01 Ensemble: Egschiglen Composer: Traditional Composer: Tumenbayar Migdorj Auto-generated by YouTube.

(HD) Huun Huur Tu – Walking the Tyva Trailer

(HD) Huun Huur Tu – Walking the Tyva Trailer

52,811 views•Oct 21, 2015 6367ShareSaveTengiz Türk 33K subscribers Pekin Müzik Festivali İçin Hazırlanmış, Tıva Türklerinden Huun Huur Tu ‘nun Müziğiyle Renklenmiş Tıva Belgeseli Tanıtım İzletisi.

‘Ancestors’ Huun Huur Tu 2016 China Tour in Beijing @Stallion Era

‘Ancestors’ Huun Huur Tu 2016 China Tour in Beijing @Stallion Era

98,287 views•Nov 10, 2016 1.5K20ShareSaveZhao Liu 337 subscribers ‘Ancestors’ Huun Huur Tu 2016 China Tour in Beijing @Stallion Era 160911 恒哈图乐队2016中国巡演《流浪的英雄》@天桥艺术中心 《祖先》主办 战马时代


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FAR OFF SOUNDS – Huun Huur Tu: The Tuvan Masters

FAR OFF SOUNDS – Huun Huur Tu: The Tuvan Masters

44,929 views•May 19, 2016 7319ShareSaveFar Off Sounds 2.05K subscribers “Tuvan throat-singing”, or khoomei, is an ancient pastime in the steppes of Tuva, a country nestled between Mongolia and Russia. For thousands of years, herders and farmers there have taught their children to sing in the khoomei way. Huun Huur Tu, a group that formed when the Soviet Iron Curtain fell, are the undisputed worldwide masters of khoomei music. Bearing the beauty of their voices and an assortment of instruments whose names we don’t know (including a pair of shakers made from bull testicles and a percussion piece made of horse hooves), they act as ambassadors to a timeless way of life, evoking the wild and natural world of Tuva with their music. We met them at Royce Hall in Los Angeles.

Amazing female throat singing

Amazing female throat singing

784,510 views•Mar 4, 2019 14K 358 Share SaveKUULAR 68.7K subscribers Now we have 2 ways of learning: Master class –… Master class + 3 Skype lessons –… Any way I’ll be glad to see you on my course) If you have questions just let me know) Wish you all the best) People often ask me if women can sing throat singing. I made a special collection of videos with examples of female throat singing. Hope you like it. 1) Shonchalai Oorjak-Choodu 2) Saylyk Ommun 3) ??? (Can’t find the name) 4) Veronica Usholik 5) Anna-Maria Hefele 6) Chodura Tumat (Tuva Kyzy) Here you can support my channel (Поддержи канал) –