Category Archives: Uncategorized

Catherine Darbord – Chant harmonique


Catherine Darbord – Chant harmonique

45,106 views•Aug 31, 201016117ShareSaveCatherine Darbord 24.7K subscribers Le chant harmonique est une technique vocale d’Asie centrale qui permet à un seul chanteur d’émettre deux sons simultanés (un son de base stable et des harmoniques avec lesquelles on peut chanter une mélodie). Catherine Darbord enseigne cette technique sous forme de cours individuels ou ateliers à Montpellier, et de stages à la demande. SITE :​ Elle a produit un CD “Méthode d’apprentissage du Chant Harmonique” :…​ Images Jean-Luc Buro – Montage Filo (

1 Melody, 10 types of Kargyraa Throat Singing


1 Melody, 10 types of Kargyraa Throat Singing

2,190 views•Sep 21, 20201510ShareSaveRowan Hartsuiker 1.99K subscribers Here’s an improvisation of kargyraa techniques/effects/styles while singing 1 melody (a Mongolian melody called “Durvun Uul”). So basically I’m singing 2 techniques of kargyraa (one “regular” kargyraa, and one more high pitched kargyraa which is essentially a more constricted version of kargyraa). On top of each of these two kargyraa types I applied a few effects/styles (such as tongue vibrato, nasal sound, tongue overtones, etc.) Enjoy!





this website is focused on different styles of throat singing (siberia, inuit, tibet). there are videos, articles (acoustics, physiology, different researchers working on throat singing)

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Pictures of the workshop of overtone singing at ASS. Art & Tradition, in Monte Bruno, TO, Italy, from 28-30 April 2018


photo workshop group 29.04.2018 MONTE BRUNO.jpg

Workshop of overtone singing and workshop of didjerido in Monte Bruno, at Ass. Art & Tradition , organized by Andrea Ferroni, &gi Giorgio Pinardi from 28-30 April 2018

tqh avec les participants du workshop 30.04.2018 photo Giulia

Tran Quang Hai, Mascia Minghetti, Diego Liziero, Domenico Mansi, Pino Poclen, Jan Knoppers, Giulia

IMG_20180430_132638 (Copy).jpg
Tran Quang Hai, Mascia Minghetti, Diego Liziero, Domenico Mansi, Pino Poclen, Jan Knoppers, Giulia Geroldi

IMG_20180430_154703_1 (Copy)

Giulia , Domenico

IMG_20180430_174256 (Copy)

Tran Quang Hai, Mascia Minghetti, Diego Liziero, Domenico Mansi, Pino Poclen, Jan Knoppers, Giulia Geroldi

photo 30.04.2018 WORKSHOP MONTE BRUNO ITALY.jpg

Ritiro di Canto Armonico
Giorno 3
Down to the river
Tran Quang Hai, Mascia Minghetti, Diego Liziero, Domenico Mansi, Pino Poclen, Jan Knoppers, Giulia Geroldi
Ngày thứ 3
Tran Quang Hai, Mascia Minghetti, Diego Liziero, Domenico Mansi, Pino Poclen, Jan Knoppers, Giulia Geroldi


MARK VAN TONGEREN :Tyva Kyzy 20 year Anniversary World Tour in Taiwan june 2018



In 2015 I organised concerts and a workshop for Otkun Dostai and Choduraa Tumat here in Taiwan; in 2017 Choduraa came back for more concerts. Now her group Tyva Kyzy celebrates its 20th anniversary and they all come over to play in Taipei. I am very happy that this time around, the Taiwan Traditional Theatre Center (臺灣戲曲中心) is hosting the shows.

The tour starts in Korea (end of May), and continues after Taiwan to Japan (after June 5), Hawaï and mainland USA (second half of June), Europe (early July: Netherlands, Norway and Germany) and through Moscow back to Siberia (where we’ll meet again at the occasion of our Sound Journey to Tuva).

Meet the five singers here below and read more about the groups’ history.

But first the events details and ticket-links:

3 Concerts, on Friday June 1 and Saturday 2
1 workshop
on Sunday June 4. Only very few tickets left!!!
1 lecture on Saturday May 5 (by Mark van Tongeren, with Chinese translation)



Aylangma Damyrang

khöömei styles, vocals, igil (pictured), khomuses

“Tyva Kyzy” (‘Daughters of Tuva’) is the first and only female group that performs all the styles of Tuvan khöömei (throat-singing). Customarily, women have been prohibited or discouraged from performing throat-singing. Since their formation in 1998, Tyva Kyzy is changing the history of throat-singing, and creating a new future for the next generation of female throat-singers in Tuva.

Tyva Kyzy was founded by Choduraa Tumat in 1998, and they were pioneers for performing this unique traditional technique of Tuvan throat singing as an ensemble. The throat-singing, or khöömei in the Tuvan language, is still considered to be a domain of male singers.



Altynai Khuurak

vocals, chadagan (pictured), dungur


The group was given an implicit blessing by the late great khöömei master Oorzhak Khunashtaar-Ool, who heard women doing throat singing at a young age. He favoured its development and called for ‘daughters of Tuva’ (or tyva kyzy in Tuvan) to spread female khöömei, shortly before he passed away in 1993. Choduraa Tumat has made this her mission and it has proven to be a relevant one.

Shortly after they were founded, in 2000, I interviewed and recorded this new group. Then we travelled to a small village festival at the border of Mongolia to honour Choduraa’s namesake, Gennadi Tumat, a highly influential throat singer who had died just a few years before. The song I remember best from their repertoire was a very moving lullaby or öpei, arranged for ensemble voices and instruments. And of course their throat singing.



Olcha Tumat

vocals, khöömei styles, byzaanchy (pictured)


Khöömei, a special group of techniques of overtone singing, is typical for only a few peoples of Inner Asia that traditionally lived a nomadic existence. In Tuva it reached a level of great refinement with a large variety of styles: sygyt, a spectacular whistle-like kind of throat singing; khöömei, a more subtle technique based around vowel-like overtones; kargyraa, where the voice reaches incredible low pitches, also vowel-like overtone melodies; two especially skilled techniques mainly performed by the best singers: ezenggileer and borbangnadyr, and several other varieties which are rarely heard. The three throat-singing members of Tyva Kyzy master all of these techniques and can even create further variaties.

Tyva Kyzy also plays many of Tuva’s traditional musical instruments: the two-stringed horse-heard fiddle igil, the musical instrument that is most revered and most difficult to play among all Tuvan instruments; the two-or three stringed doshpuluur, a long-necked lute; the four-stringed fiddle byzaanchy; the table zither chadagan; the khomus or Jew’s harp, made of metal, bamboo or wood; and the dunggur or shaman’s drum as well as the duyug or horse hooves, percussive instruments which emerged during the big transformations in the 1990s and 2000s for rhythmical accompaniment of songs and instrumental music.



Sholbana Belek-ool

khöömei, sygyt, traditional vocal, igil (pictured), khomus, dujug


Tuvan songs often deal with the living environment such as the steppe, mountains, rivers, taiga; feelings of love, longing and loneliness; comparisons of human and animal beauty and behaviour, like comparing the charms of a beautiful girl to those of a great horse; or they playfully and humorously comment on everyday life in quatrain songs.

The group Tyva Kyzy is artistically driven by Choduraa Tumat, who studied music in Kyzyl (Tuva) and Ulan-Ude (Buryatia). She masters nearly all styles of Tuvan throat-singing and plays various traditional instruments: doshpuluur, chadagan, khomus, igil. She is also a lecturer at the Pedagogical College of Tuvan State University, a tireless researcher of Tuvan musical traditions and she maintains a large international network. When she brought together the first collective of enthusiastic young ladies to break the age-old taboo on women singing with throat techniques, in 1998, she faced the complicated task to adapt the male songs for female voices. The core questions she asked herself were: “how is a female throat-singer’s performance different from that of men?” and “what special styles are particular to female throat singers?” Now it is twenty years later and Choduraa Tumat is still looking ahead. She has many plans and ideas for the future, and Tyva Kyzy keeps blending in new and old songs and pieces with twenty years of group repertoire. This World Tour is a great opportunity for fans and students of Tyva Kyzy around the world, and for those who have never heard them, to witness the versatility and evolution of Tuvan music, performed by live musicians from a remote corner of the globe.



Choduraa Tumat

khöömei styles, vocals, doshpuluur (pictured), chadagan, khomus




Jean François CASTELL : film VOYAGE EN DIPHONIE, 2018, annonce


[ Financement participatif Phase 4 ]
40% – 162 soutiens – 9900 euros

Chers amis, chers crowdfounders,

nous avons le plaisir de vous annoncer que le film est terminé.

Après trois ans d’écriture, de tournage, de montage
le projet est désormais bouclé.

Le DVD part cette semaine au pressage.
Pour les participants au financement participatif
ayant souscrit pour cette contribution,
il vous sera envoyé d’ici la fin du mois d’avril.

Merci pour votre patience et votre compréhension !

Une avant-première sera organisée à Paris,
à la Scam, le 02 mai 2018, à 19 heures.

Vous êtes tous très chaleureusement invités.
Ne tardez pas à réserver votre place en envoyant un mail à :
(attention, jauge limitée)

Nous vous y attendrons
pour échanger autour du film
et partager un verre.

Et aussi…
Bientôt une première projection en festival
le 19 mai à Saint-Malo dans le cadre de :

Étonnants Voyageurs

Nous ne manquerons pas de vous tenir au courant…

Voici une première bande annonce du film :

et voici la jaquette du DVD à paraître :

Le financement participatif continu
jusqu’au 02 mai 2018.

Participez !

D’avance MERCI !

Après trois ans d’écriture, de tournage, de montage le film est désormais bouclé. Avant première à Paris le 02 mai 2018.



Voyage en Diphonie (Bande annonce 1’30) – Un film de Jean-François Castell


Voyage en Diphonie (Bande annonce 1’30) – Un film de Jean-François Castell

Published on Mar 23, 2018

Voyage en Diphonie retrace plusieurs histoires entremêlées : les fondements d’une démarche ethnomusicologique ; une tournée unique vécue de l’intérieur avec des musiciens bergers et professionnels de Mongolie ; des expérimentations scientifiques ; le mystère du chant diphonique et sa relation profonde à la nature ainsi que sa transmission ; et surtout, l’aventure humaine de Johanni Curtet et Nomindari Shagdarsüren partagée avec ces artistes dans ce grand projet, musical et patrimonial. © 2018 Les Films du Rocher, Hors-Champs/Contre Champs, A ProPos Production.

Ritiro di Canto armonico 4° edizione/ Tran Quang Hai’s workshop of overtone singing , 28-30 April 2018, Ass. “Arti e Tradizioni” località Montebruno, 2 – Garzigliana – TO, ITALIA


Ritiro di Canto armonico 4° edizione

Organizzato da “Arti e Tradizioni” associazione e “Alterjinga” Associazione Culturale.

Da un’idea di Andrea Ferroni, direzione artistica affidata a Giorgio Pinardi.

Data/date: 28, 29, 30 april 2018


-Luogo / Place:
c/o Ass. “Arti e Tradizioni” località Montebruno, 2 – Garzigliana – TO


Corpo docenti  / Teachers list :

img0140Giorgio Pinardi

Inizia con la Musica giovanissimo, sviluppando nel Canto un percorso parallelo diviso tra Canto Moderno e “Tecniche Estese” di origine extraeuropea. Studia ed approfondisce il Canto Armonico con i Maestri Tran Quang Hai, Roberto Laneri, Marco Tonini, Papi

Moreno, Lorenzo Pierobon, Igor Ezendam, Alberto Guccione e Dandarvaanchig Enkhjargal (EPI). Approfondisce la forma corale improvvisativa nota come Circle Songs con Albert Hera, Roger Treece, Joey Blake, Rhiannon e David Worm (Voicestra), Agnieszka Hekiertgna, Studia Polifonia Africana con Anita Daulne (Zap Mama/Congo) ed il gruppo Insingizi (Zimbabwe). Realizza le musiche per mostre sull’ Africa presso il Teatro MIL di Sesto S.Giovanni per conto di una storica ONG italiana. Insegna e si esibisce in diversi contesti, associazioni e strutture lombarde e non. E’ fondatore nel 2012 dell’Associazione Alterjinga, dedicata alla diffusione, promozione e didattica della Musica e del Canto con un occhio di riguardo a tutto cio’ che non e’ convenzionale in campo artistico.

Mandaakhai Daansuren
was born on 19 May 1992 in the village of Luus in the Dundgobi region of Mongolia. He learns to play Morin Khuur (horse head fiddle) with his father at the age of 9 years.

In 2010, he completed his studies at the University of Soyol (Culture) as a player and teacher of Morin Khuur. He also learns all the techniques of throat singing.

By the end of 2010, he began to promote Mongolian traditional music in Europe through his various artistic talents. He works and performs in concert with various artistic partners: Trans-Mongolia, Groupe d’Argusan, The Voice of the Steppe, Xeremia, Heejin Diamont of the Circus, Gobi-Ensemble, Duo Shono, Duo Gobi Rhapsody etc. first album in May 2016.

Kohoomii is a type of ancestral diphonic singing that reproduces natural sounds such as water flow, wind blowing, echoing mountains, the roar of thunder, the chanting of birds, etc. A diphonic vocal is characterized by a vocal technique that allows to produce several notes simultaneously by means of a single vocal organ by combining various types of voice and various positioning of tongue or lips.

TRAN QUANG HAI is a talented and renowned musician who comes from a family of five generations of musicians. had been working as an ethnomusicologist for the National Center for Scientific Research in France since 1968, attached to the Department of Ethnomusicology of the Musee de l’Homme. He is retired since May 2009.

His field is Vietnamese music, Overtone singing in Siberia. He is member of many international societies  : Society for Ethnomusicology, ICTM (executive board member since 2005), Asian Music Society, French Society for Ethnomusicology (founding member), International Jew’s Harp Society (founding member), etc…

He has published 23 records on Vietnamese music (from 1971 to 1997), 4 DVD on overtone singing (2004, 2005, 2006), 2 DVD on traditional music of Vietnam (2000, 2009), 1 DVD on his life by the Belgian TV Production (2005), articles in New Grove Dictionary Music and Musicians (1st – 1980 and 2nd (2001) editions), New Grove Dictionary of Musical Instruments (1984) and some few hundreds of articles in different countries .

Recipient of the Medal of Cristal of the National Center for Scientific Research (France) in 1995 , of the Medal of the Knight of the Legion of Honour (France) in 2002, and of the Medal of Honour of Work, Grand Gold category (France) in 2009.

More details of his activities can be found on his website:

-Costo / Cost:
3 giorni – sabato, domenica, lunedì :
250€ a persona prenotando entro il 30 Gennaio,
290€ prenotando entro il 28 di febbraio versando 70€ di caparra.
Oppure 330€ a persona prenotando oltre il 28 febbraio.

3 days – saturday, sunday, monday:
250€ each if you book before 30 Jannuary,
290€ each if you book before 28 february.
Or 330€ for late booking.

-La quota d’iscrizione comprende / Price includes:
-6 ore di lezione al giorno, i pranzi e le cene dei giorni di iscrizione.
-6 hours lesson a day, lunches and dinners during the day of lesson you subscribe.

– Pernottamento / Accomodation:
in zona sono presenti diversi alberghi il cui costo si aggira intorno ai 30 euro a persona.
Sarà possibile anche il pernottamento in economia (con proprio sacco a pelo) costo 10€ inclusa colazione..

There are some cheap and new hostel close to the workshop area (about 30/35€ per person per night).
It is also possible to sleep in a cheaper accomodation with your own sleeping bag an mattres. (10€ breakfast included)..

-Nota / Note:
tutte le lezioni saranno in Italiano e verranno tradotte in inglese per gli ospiti stranieri.
-Workshop are hold in Italian and translated in english too. 

Programma di lezione / Schedule: 


More info and booking:
Andrea Ferroni
phone: 0039 3385812914

About Andrea Ferroni

Andrea Ferroni, nato a Torino nel 1977. Impegnato in ambito associazionistico dal 2002. Svolge per l’associazione “Arti e Tradizioni” attività organizzative e di direzione artistica e promuove numerose attività legate alla musica e arte in generale attraverso ogni mezzo ritenuto adeguato, auto-produzione, ecologia e stili di vita che promuovano la crescita personale, comunicazione verbale e non verbale con lo scopo di migliorare la relazione interpersonale.

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ANNA MARIA HEFELE : Can You Do Polyphonic Singing? Develop Overtones for Your Voice


Can You Do Polyphonic Singing? Develop Overtones for Your Voice

Anna Maria recording

Anna Maria Hefele is a highly skilled polyphonic singer from Austria who also performs with various ensembles as a specialist multi-instrumentalist.

She spoke to VoiceCouncil about her incredible talent, and explains the benefits of overtone singing for all singers.

What emotive effect can polyphonic singing have?

When people hear it for the first time they are often very moved. It is mysterious yet strangely familiar. We hear and use all sorts of different vowel shapes all throughout our lives, and the overtones are the reason why one vowel sounds quite different from another vowel.

We know that and “u” sound is very dark because we amplify the low overtones contained in the sound and filter out the higher ones at the same time, and an “i” is very bright, because the high overtones are amplified and the low ones are filtered out. So, we are connected to overtones in a complex way in our daily lives, but we are usually not doing it on a conscious level.

How did you discover polyphonic singing?     

One day, when I was 16, I was listening to a radio broadcast of a man who performed polyphonic singing. He lived locally to me so I met with him and asked if he could show me how to do it. I had a certain talent for it, but I was also so intrigued I couldn’t stop practicing.

What came first – the theory or the practical?

It goes hand in hand. By understanding how it works, you are able to do it better. It is difficult to learn or practice something if you don’t have any guidance or direction.

Are you singing the same as Tuvan or Mongolian throat singers?

The filtering process in the mouth and pharynx is the same. But, the sound production in the larynx is different. In classical voice training, you aim for a balance of air and sound where you can develop a natural vibrato. However, with overtone singing, you close the vocal cords a little bit tighter.

The throat singers do this like me, but they also add more pressure on the larynx. With this they can supress the fundamental even more, as it is their aim to make it almost unhearable.

In the western overtone singing technique I don’t use this high pressure on the larynx in order to keep my flexibility in changing quickly into classical technique, and also to have the ability of changing the fundamentals a lot, which allows my polyphonic singing style. The Mongolian throat singers usually don’t change their fundamentals. Mostly they sing overtone melodies on one fundamental which they keep throughout the song.

How important is it to have clean tone for polyphonic/overtone singing?

You need a more ‘tight’ sound in the voice than in other vocal techniques, which means I am working with a higher closing quotient in the vocal folds. This sound already contains more overtones. An airy voice will not have so many overtones to amplify. Overtone singing is about filtering overtones out of the voice out and amplifying others. But you can only filter and amplify something you put into the filter in the first place.

If I meet a breathy singer at one of my workshops, I encourage them to use the whole body for support. I make them stand in a stable way and sing whilst I try to push them (carefully) over. Automatically the voice gets stronger when the student tries to keep his stabile standing position.

Overtone singing makes you more aware of vowel shapes and vocal colours

When a singer has learnt to close their vocal cords well and developed good support, they can hold longer notes which is very helpful for developing a good filtering technique in overtone singing.

Overtone singing is all about searching for the overtones in the vowel transitions. If you’re able to hold long notes on one fundamental note, you also have more time to explore different sound colours before you run out of breath.

Do you think practicing overtones will help the voice in other ways?

Overtone singing can certainly help all singers. For example, it improves your perception for resonance; overtone singing makes you more aware of vowel shapes and vocal colours.

As well as developing vocal cord closure and sustained support, you are also able to expand your range and find higher notes because you train to have the physical power for it.

Overtone lesson 1

How could choirs benefit from learning polyphonic singing?

You can ‘tune’ the vowels of each choir member to each other to boost the same overtones inside the same voice section in the choir. It will sound more precise.

The conductor could even ask the choir members to tune their vowel to amplify a specific overtone. For a major chord for example, the section which is singing the fundamental of the chord (bass, usually) can amplify the major 3rd in the vowel for a super clean sound. This supports the female voices that sing the major 3rd as a normally sung note.

What role does the soft palate play in polyphonic singing?

I usually won’t let any air out of the nose because you lose some sound. The effect of the overtones is clearer if you lift the soft palate.

Is it easier for high voices or low voices to find overtones in their voice?

The lower the pitch, the more overtones you have. There is a cap at about G4 for filtering overtones –  it’s impossible to access overtones above this pitch, although above that there are still some, but you cannot filter them out as separate notes in the overtone singing technique any more.

What should a singer do if they want to develop overtones in their voice?

Sing long notes and play with vowels. Start with an “u” and move very slowly to an “i”, like the French “oui”. In reverse it is like the English “you”. It is a very small movement but you time-stretch it for as long as you can.

There are so many more vowels than our standard “ah, eh, i, oh, u”. You will find overtones somewhere in between these “normal” vowels. You will begin to hear overtones or feel sensations of better resoncance when you hit an overtone.

Anna Maria Hefele - photography by Ellen Schmauss

Anna-Maria Hefele is an overtone singer and voice artist. In 2014 she graduated as Bachelor of Arts in Elemental Music & Dance Education with classical singing as her main subject from the Carl Orff Institute, Mozarteum University Salzburg. Anna-Maria is a soloist as an overtone singer in different ensembles, such as “Supersonus – The European Resonance Ensemble”, “The Lady & The Cat” and “Orchester der Kulturen”. She plays nyckelharpa and harp, and builds specialist instruments. www.anna-ma

Saga J Haruhiko : How To Throat-Sing


How To Throat-Sing
STEP 7: Hints and tipsJapanese page

If you couldn’t make the flute-like sound, there are two possible causes. They are very important because they are directly connected with the way to improve your throat-singing.Firstly, your mouth chamber may not have a proper shape or volume for resonance. Change them carefully according to the instructions in STEP 5. Slow and careful changing of the chamber will help you to find the resonance. Try to change the shape of the front of your mouth too.Secondly, it’s quite possible that your vocal “oooo” doesn’t contain sufficiently strong harmonics that can resonate in your mouth. (Is your “oooo” very soft and calm?) Beginners sometimes give up before getting the hang of this.
The sound wave which resonates in your mouth has quite a high frequency. Thus all you have to do is vocalize an “oooo”-sound which contains sufficient high-frequency sound energy. I don’t mean that you vocalize “oooo” one octave higher! I mean that you should vocalize with as bright a throat-sound as possible. (If Louis Armstrong had tried throat-singing, he’d have been successful!)To get the proper “oooo” sound, imagine the following situation: when you’re practising throat-singing, some one comes up to you angrily shouting “Be quiet, man!” and strangles you. Naturally, you keep practising. This would result in a strong, bright tone from your throat. You got it! You are “oooo”-ing with an ideal voice sound.Once you’ve got this voice with rich high-frequency components, the volume of the “oooo” itself may be reduced. This helps the flute-like sound to be heard more clearly. In this case, the voice which is kept while throat-singing sounds like a drawn-out “we” in English, or “oui” in French, which is written in Japanse as the letters shown in the background of our pages.

Previous Step <————–> Next Step?

I do hope this How-to helps you.
May your throat-singing reach the Altai Mountains!


Please let us know your experience of trying to throat-sing according to these instructions.



Special thanks to Dan.
Without his native English and great work (actually, he had already mastered throat-singing by himself and introduced how to do it in the FAQ of Tuva !), the Throat-Singing Society could not have presented you these how-to in English.

Saga J Haruhiko