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Michael Ormiston & Candida Valentino perform Chintamani (precious jewel), UK


Uploaded on Feb 3, 2012
Chintamani (precious Jewel) from the album of the same name. Michael plays a Flat Backed Bouzouki and sings khoomii,kharkhiraa and normally. Candida plays a dombra and sings khoomii,kharkhiraa and normally.

Michael Ormiston at the Folk Club Turin, October 2010


Uploaded on Nov 9, 2010
This is a selection of pieces that I performed with my Mongolian Khoomii (Overtone Singing teacher) Tserendavaa who had travelled from Mongolia to perform two concerts with Harmonic Voicings, which is Candida Valentino, Martin Mayes and myself. More of the concerts will follow.
Buy Tserendavaa’s New DVD from the above websitem

n Conversation with… Michael Ormiston (featuring Candida Valentino) Khöömii (overtone) singing, UK


Uploaded on May 19, 2009
Michael Ormiston is one of the only non-Mongolians able to sing Khöömii a type of overtone singing. He tells us what it means to him…

For more information on Michael and Candida and other Khöömii singers please go to:

Performance recorded at a Alternatives event:

Workshop recorded at a Singing Knives event:

CAROLE PEGG : Overtone Singing





There are many different types of Mongolian overtone‑singing (höömii), all of which involve the sounding of a fundamental drone while simultaneously producing flute‑like notes in a series of chosen harmonics or partials of the fundamental. In most types, these high notes form a melody. A third note is sometimes distinguished, in the pitch range between drone and melody.

Although now performed by ensemble performers in Ulaanbaatar, höömii is a phenomenon of West Mongolia, performed by Western Khalkhas, Baits, Torguts, and Altai Urianghais (Tsoloo INb), and shared by some Turco-­Mongol peoples north of the north-western Mongolian border. Ensemble performers in Mongolia are all Western Khalkhas from Chandman’ sum, Hovd, although WesternKhalkhas in Gov’‑Altai aimag were also perform­ing it in the 1950s (Kara IN). The fact that this ethnic group is the source of the höömii revival in Mongolia, even though it is not performed by CentralKhalkhas, may be related to the communist regime’s attempts to create a socialist national identity based on the traditional performing arts of Khalkha Mongols.

Prior to being elevated during the 1930s and 1940s into a national and classical art form, höömii was used for a variety of purposes. The Western Khalkha Gereltsogt (IN) recalled two contexts: his herdsman father, “Singer” Sereeter (Duuch Sereeter), performed “With a cup” (ayagatai) to lull the baby to sleep and without a cup to call yaks in the mountains. höömii is used by Urianghais (Tuvans) for both of these purposes (Pegg 1992b:36; Van Tongeren 1994:37‑39) and in other contexts within the home. The Bait Mongol Düüdei (IN) recalled how, during her childhood in Tes dis­trict, Uvs, Urianghai herders came from Tuva to gather sea buckthorn berries, which they used for medicinal purposes. Bringing with them camels and much baggage, the herders often spent four or five days in her father’s tent, during which time they performed höömiiThis may not have been informal performance. Düüdei recalled that, prior toperforming, they would always repeat the following couplet, referring to the territory and people of that place.



Altai santai ziirhentei,             With Altai offerings at its heart,

                                          Amban noyon zahirgaatai.       Under jurisdiction of [Manchu] governors and princes.



This short introduction suggests that, in some circumstances, höömii was treated with respect. The only other example I have encountered of it being performed on official occasions is among Baits in Uvs, who used it during wedding celebrations when “seeing off the bride” (chigee uulgah). Tsaatans, in övsgöl, northwest Mongolia, still use it for hunting (Sanjim IN).

There is no firm evidence of a date for the origin of höömi in Mongolia. Writings of early travellers, such as Marco Polo and Rubruck (Dawson 1955), refer to musicians and singers in the context of courts and homes, and the fourteenth‑century Mongol dynastic history “Yiian‑shih “cites three‑hundred member court orchestras, musicians, and singers, but höömii is not men­tioned in any of these sources. One of the earliest apparent references to overtone‑singing appears in Serruys’s translation of a sixteenth‑century Chinese document, containing a description of songs that have beaucoup de sons de la gorge et deslèvres, that is, “many sounds from the throat and the lips” (1945,’153). Another possible description of overtone‑singing occurs in a sixteenth‑ century French poem (cited in Lèothaud 1989):



                             J’ay veu, comme il me semble,         I saw, it seems to me

                          Ung fort homme d`honneur,          A strong man of honour,

                             Luy seul chanter ensembk,         Singing together with himself both above and below

                                  Et dessus et teneur. 15


For Western Khalkhas of Chandman’, the origin of höömii lies in legendary rather than historical time, in the imaginative space of Mongolia’s “deep past when the legendary Bazarsad performed at nair.Margad (IN), age fifty, recalled that as a boy he heard old people talk of Bazarsad of Chandman’, who lived in “ancient times.” They described him as tall, very strong, and a champion wrestler. In 1923, when the horseman Dashdondov was five years old, he heard that Bazarsad was the first to perform höömii inChandman’ (IN). It was said that he used a combination of long‑song with different types of höömii and that when he performed in this way the spir­its of land and water came to listen to him (Tserendavaa INc). Although no‑one living actually met or heard Bazarsad, it is affirmed that none can match his skill. By contrast, there are those who remember Chimiddorj, who performed three‑voiced höömii.

Styles (töröl) and methods (arga baril) vary in Mongolia according to ethnicity as well as the ability of the individual performer. Ethnic groups developed their own terminologies for different types of overtone‑singing. Sometimes the style is shared with other groups but has different names. Bait Mongol “root of the tongue” (helnii ug) style (Mangi1jav IN) corresponds to Western Khalkha glottal, or throat, overtone‑singing (bagalzuuryn, hooloin höömii) (CD: 18). However, some ethnic groups have styles peculiar to their group. Tseveen, a forty‑year‑old Dörbet Mongol from Ölgii sum, Uvs, demonstrated two such styles: Altai Urianghai hargia, for which he cupped his hand to his mouth, and Kazakh “tooth overtone‑singing” (shüdnz höömii) (Tseveen IN). Pülrev, a thirty‑four‑year‑old Tuvan from Bayan Ölgiiused the term höömii for his very low‑pitched biphonic sound; when using melodic overtones derived from a drone, pitched in higher register, he denied that this was höömii. When demonstrating sounds produced in “the old time,” Pülrev growled impressively from deep in the chest, generating the very low fundamental AA, and referred to this as hargaraa.  There was no melody but overtones on A and a (Carolann IN).


Western Khalkhas in Chandman’ have offered three different classifications of höömii. Sundui, considered a possible match for Bazarsad demonstrated how harmonics could be isolated and reinforced by using combinations of parts of the vocal tract‑back or front of throat, nasal passages, chest‑with different vocal sounds (DesJacques 199 1D). Gereltsogt (IN), the brother of Ganbold, both of whom are now professional performers in Ulaanbaatar, uses four types of höömii: nasal (hamryn), “by whistle” (isgeree), harhiraa (see below), and “with pressure” (shahalttai), all of which may be performed with or without glottal stops (tsohilt). He related the latter, which may be combined with lyrics, to the vocal technique used for epic performance, häälah (CD: 15). Tserendavaa, a truck‑driver, skilled musician, and singer, together with the renowned Mongolian musicologist Badraa, identified seven types of overtone‑singing. During the tour of England that I organized in 1988, Tserendavaa demonstrated six of these, all of which use harmonics to form a melody, heard as a melodic whistle (uyangiin isgeree).


labial (uruulyn)‑fundamental c (167‑68 Hz), range of overtones b’’‑c#’’’’


palatal (tagnain) ‑fundamental e (167‑68 Hz), range b’‑c#’’’’


nasal (hamryn)‑fundamental f# (182‑83 Hz), range c#’’’‑c#’’’’


glottal, throat (bagalzuuryn, hooloin) ‑fundamental c (17o Hz), range, b’’‑b’’’’


chest cavity, stomach (tsedjiin höndiin, hevliin) ‑fundamental a (214‑15 Hz),    

range e … ~c


with türleg (türlegtl) ‑fundamental g (202‑203 Hz), range d”‘‑d’’’’  (CD: 19)


Tserendavaa employed the same overtone melody in labial and palatal höömii and a second melody for nasal, chest cavity, and glottal höömii. His use of the seventh and eleventh partials as auxiliary rather than structural pitches supports the suggestion that five main pitches were used traditionally. Türlegthöömii, called hosmooin höömii by researchers in Ulaanbaatar, combines speaking (heleh), singing (duulah), humming (ayalah), long‑song melodies, and the other five melodic höömii types. Following the legendary Bazarsad, Tserendavaa developed this style over a period of ten years and first demonstrated it in the United States in 1987. The melody Tserendavaa used for the song “Jalargaltain Delger” (Widespread Happiness), performed in Türlegt höömii, is a Western Khalkha version with a smaller range than its Central “khalkha equivalent, “Ovgön Shuvuu” (Old Man and Bird).

Tserendavaa identified a seventh non‑melodic overtone‑singing style, harhiraa höömiiwhich he compared to the sound of a rippling waterfall. Badraa (IN) pointed out that harhiraa uses harmonics or overtones but does, not attempt to create melodies with them. Tserendavaa was unable to demon­strate this style, since it requires a deep, powerful voice. Margad (IN), a herdsman from Chandman’ district, described harhiraa as the oldest form of höömiii and the background colour or tone (devsger öngö) out of which oth­ers developed. In his performance of harhiraaMargad used fundamental B as a drone and melodic overtones within the range b”‑g (CD:20).Harhiraa is characteristic of Bait Mongolian höömii,which, as an old record­ing of harhiraa höömii in the Ulaangom Museum archive illustrates, sounds similar to Tuvan overtone‑singing perhaps not surprising with the frequent occurrence of inter border marriage and fostering in the pre-communist era. Given the importance that Mongols place on the relationship between music and landscape, the presence of the Harhiraa range of mountains in Uvsprovince may also be of significance.

In Old Mongolia, höömii was performed only by men, which may have been the result of folk‑religious beliefs, but it is now explained in terms of bodily strength. Tserendavaa warned that both hamryn (nasal) and türleti or hosmooin (combination) höömii are characterized by blood rushing (chineh) to the face and are very difficult to perform: nasal höömiii because a powerful flow of air is forced through a small nasal channel and tiirlegt höömii because of the combinations required. As a child, he injured his larynx while learning, and, as an adult, he lost consciousness during perfor­mances on occasion, breaking blood vessels near his eyes, for which he had needed surgery. He advised eating a good meal before performance and discontinuing the practice in advanced years. Davaajav, a chest‑cavity over­tone‑singer(tsedjnii höndiin höömiich), supported Tserendavaa’s views in the light of his own experience and suggested that performing höömii also affected the ability to sing well. Because of the strength required, a lengthy training period is needed, and it is preferable to begin in childhood (Tserendavaa INb; SengedorjIN). A distinction is made between learning and performing. Childhood should be a period of learning; performing must not begin until maturity. Aids are sometimes used to acquire a good höömii voice: a cup is held to the mouth to provide an echo (ayagaar deveh, lit. to fan by means of a cup), or a pupil is made to höömii1öh against the wind (salhny ögsüür höömiilöh). Once a good höömii voice is acquired, such devices are no longer neces­sary. Tserendavaa began learning when he was nine, but he did not per­form until he was twenty‑five. Traditionally, learning is by example and imitation, and Tserendavaa (IN) vividly recalled his first experience. He described how one evening when he was a child a `white‑haired, bearded, old man looking for two lost horses rode up on a grey horse that shone like silver.” The man, later identified as the höömiich Chuluun, spent three nights in the family tent. During this time, Tserendavaa listened to his over­tone‑singing and learned to play the horse‑head fiddle. To repay his debt to this man, Tserendavaa became a höömiichChuluun stressed to Tseren­davaa thathöömii is a difficult art that demands self‑control, endurance, and great strength. As an illustration of the power needed, Tserendavaa described how the legendary Bazarsad’s hair stood on end when he per­formed, and Tserendavaa compared the strength needed with that required for wrestling, pointing out that the two most renowned höömiichBazarsad and Sundui, were also famous wrestlers. The ideal age for wrestling is twenty-­five years old, said by Mongols to mark the peak of male strength. Unless the performer has this strength, together with the other qualities indicated by Chuluun, höömii performance is believed to be physically harmful in both general and specific ways.


Badraa (INa) related höömii to the art of whistling (isgeree), which has its own techniques and methodology and which, in addition to being used to control animals, is believed to communicate with the God of the Wind. Tserendavaa (INa) identified two types of whistling‑labial (uruulyn) and dental(shüdnii). Other vocal and instrumental imitative calls are used in everyday activities, such as herding, hunting, and milking, to lure, control, and encourage animals.


In pre-revolutionary Mongolia, the performance of höömii is reported by Mongols as not valued. This may have been because it was part of a sec­ular tradition that had been passed down from generation to generation but was in decline (Sengedorj IN) or it may have been because of associa­tions with folk‑religious beliefs. Old people in Chandman’ sum, Hovd aimagattributed its decline to the predominance of Buddhism and the disapproval of the lamas. Under communism, höömii became imbued with special value, as did other selected aspects of the “music of the people,” and found sup­port from “People’s power” (Tserendavaa INb). The new development of overtone‑singing came from Chandman’ through individual höömiichBrief biographies of key individuals will help to explain their contributions to this process.


Togoon Chuluun was a Western Khalkha born in the 1890’s who, in addition to performing höömii,whistled, played the tsuurand excelled on the horse‑head fiddle. Before the revolution, he often used his skills when travelling with a camel train to secure himself food and lodgings in ger along the route. There is some disagreement about whether Chuluun learned overtone‑singing from the declining tradition inChandman’ and later improved his performance while doing military service in the West Border Guards, or whether he learned the skill while in the Guards. In any event, it was Chuluun who, in 1930, first demonstrated höömii as a “folk art” Tamba IN). He had many pupils, including the now well‑knownhöömiich:, Tserendavaa. These pupils developed höömii into a national art form capable of winning many medals in folk art competitions.

   Tsedee is the man credited with introducing höömii to the rest of the country. He lived close to LakeHar Nuur and learned höömii from Chuluun. In 1950, Tsedee joined the Musical Drama Theatre of HovdProvince (Hovd Aimgiin Högjimt Dramyn Teatr), becoming the first professional höömii per­former inMongolia. In 1954, this theatre visited the capital, Ulaanbaatar, to present a dekada or ten‑day concert, and Tsedee became the first per­son to perform höömii there. Höömii was subsequently officially recognized as a professional art.


Sundui is considered to be the founder of what has been termed the modern classical form” of höömii(Tserendavaa INb). He is said to be unique among höömii performers in that he can produce half tones in addition to the usual full tones.` He can perform classical European melodies by com­posers such as Tchaikovsky and Bizet (Batzengel 198o:52) and is able to make vocal leaps over wide intervals (Sengedorj IN). He has a high tech­nical level of höömii performance and is able to produce “a scale using four vowels” (gammalah dörvön egshig) (TserendavaalNc).” Sundui’s main attrib­utes are said to be good storage capacity in the stomach (hevliin baglaamj saitai), good throat sounds (duuny hooloi saitai), and great physical strength (mash ih tamirtai). Sundui later joined the State Folksong and Dance Ensemble (Ulsyn Ardyn Duu Büjgiin Chuulga) in Ulaanbaatar and has now retired. He had many pupils, among them Sengedorj, now with the Hovd Theatre, and Tserendavaa.

Nanjid Sengedorj had no formal musical education but joined the Hovd Theatre in 1975. He learnedhöömii in Chandman’ at about the age of five, performed in the tenth Festival of Young People and Students, and has since travelled widely in Eastern Europe.

Ganbold, who is still a young man, is currently with the Ulaanbaatar Ensemble and also fromChandman’. He is able to perform a scale (gam­malah) on more vowels than Sundui (Tserendavaa INc).

    Since all activities in pre-socialist Mongolia were intertwined with reli­gious beliefs, it is likely thathöömii also had folk‑religious connotations. This theory is supported by the fact that höömii is related by Mongols to the vocal technique Häälahused in the ritual performance of epics. It is perhaps because of a former religious association that Mongols surround höömii per­formance with rules and regulations. But it is also related to the fact that performance of the more difficult types of höömii may cause physical dam­age, while sustained performance of less difficult types causes physical changes that may also have adverse effects (PCgg 1992).


CAROLE PEGG: Mongolian conceptualizations of overtone singing (xöömii)


Mongolian conceptualizations of overtone singing (xöömii)


By Carole Pegg

Return to carole pegg main page


Based on fieldwork in western Mongolia during 1989 and 1990, this paper relates Mongolian xöömii or overtone singing to its social context and to the cognitive world of the performers. It looks at secular performance contexts, theories of origin, legendary/historical development, recent transformation into an art form, traditional training methods and transmission, Mongolian classification of xöömii, and its relationship with nature and shamanism. A brief overview is given of previous non‑Mongolian perspectives, which have either concentrated on acoustical and physiological analysis of the sounds themselves or have made claims that overtone singing is a “magical voice technique” causing spiritual and physical healing. The latter is contrasted with the Mongolian belief that, although consumption of the sounds may be beneficial, the production of xöömii is potentially harmful to the body.




The term “overtone singing” (see note 1) refers to an extraordinary vocal technique in, which a single performer simultaneously produces up to three separate voca1 lines, which can be clearly distinguished by listeners. There are several types of “overtone singing”, but most involve the sounding of a fundamental drone, whilst producing a flute‑like melody by reinforcing a series of chosen harmonics or partials of that fundamental. This phenomenon has been embraced in the West by two groups of people who view it with very different perspectives. On the one hand, there are those who assume that it is linked with ancient religious practices and beliefs, with powerful forces within the universe, that it may be used for meditation or for magical healing. On the other hand, there are those who are curious to understand how one person can physically produce such sounds, and musicologists and others have carried out a considerable amount of research on this over the last ten years. But little has been done to relate the phenomenon to its social context or to the cognitive world of the performers. This has been partly because of the inaccessibility of those Central Asian areas where it occurs and partly because of the orientation of the researchers. This paper attempts to augment these previous perspectives with indigenous ones gained during fieldwork undertaken in Mongolia during 1989 and 1990. It contextualises Mongolian overtone singing in geographical, historical and societal terms and considers the culture bearers’ own conceptualisation of musical sound. It also illustrates the use of xöömii in secular contexts in Mongolia, considers its relationship with religion and points to the potentially harmful effects of the production of these sounds on the body.




1  Turko‑Mongol peoples                               

          Overtone singing is found predominantly amongst the Turco‑Mongol peoples of Southern Siberia and Central Asia. In addition to Mongolia, it is found in Tannu Tuva, an autonomous region of Russia which lies just north of western Mongolia, and amongst neighbouring peoples such as the Bashkirs (Garcia 1840; Lebedinskii 1962:147‑49), Khakassians and the Gorno altai/Mountain Altai (Aksenov 1964). Lamas in the dGe‑lugs‑pa monasteries of Gyume and Gyottö in Tibetwere trained from the age of twelve for tantric ritual performance to produce sounds which have been called ” xöömii” (Smith and Stevens 1967:211), but the harmonics or partials are not produced with the intention of creating melodies as in Mongolian xöömii.

2  South Africa and India

Isolated examples have been found in other parts of the world. For instance, the women and girls of the Xhosa people of South Africa perform overtone singing (umngqokolo) during which three tones simultaneously produced by one person are clearly audible (Dargie 1991:39). Umngqokolo ngomqangi, a technique where only two lines are audible (fundamental and overtone), is explained by one performer as originating in the Xhosa boys’ habit of impaling a large flying beetle called umqangi on a thorn and then holding the desperately buzzing insect within the mouth. Umqangi is also an alternative name for the umrhubhe mouth bow, and it is suggested that the umngqokolo ngomqangi overtone technique and narne were derived frorn the bow either directly or via the unfortunate insect (ibid.). The single example (note 2) recorded in Rajasthan is thought to be imitating either the satara double flute or the jew’s harp (Zemp and Tran 1989 F). (note 3)

3 Mongolia

In Mongolia, prior to the destruction of the monasteries by the communists during the 1930s and 1940s, the chanting of Buddhist monks was pitched very deep, and overtones would also sometimes occur, although apparently with no intention of producing a melody. The lama Ven Luvsangshirab (who had been training to become a lama prior to the Revolution and in 1990, because of the new freedom, had been reinstated) dismissed this as a sound which, although impressive, only “resembled” xöömii (IN). Amongst the Mongols, xöömii performance was a secular activity which was considered by the lamas to be “without respect” (xdndtei bish). Despite the claims in 1967 of the Hungarian musicologist Vargyas (D) that xöömii was “still fairly common among male singers, especially in Eastern Mongolia”, the tradition of secular overtone singing belongs to the Altai mountain region of western Mongolia.

My own fieldwork was undertaken in the three provinces or aimag which lie along the Altai mountain range‑Uvs, Xovd and Bayan Olgii‑and contain many different yastan. (Note 4) The majority of Mongols belong to the XaIxa, but there are 22 other yastan in Mongolia, mostly living in the west. An aimag is divided into administrative units called sum, each occupied predominantly by one yastan. I investigated the xöömii tradition in each aimag.

i. Uys aimag.(note 5) Situated in northwest Mongolia, immediately south of the border with Tannu Tuva, this aimag is occupied by three yastan, the Bayad, the Dörvöd and the Xoton. Overtone singing is rare amongst the Dörvöd and Xoton but has a strong tradition amongst the Bayad. Opinions vary about whether the Bayad had their own xöömii tradition or whether they took it from the Urianxai in Tannu Tuva. (note 6)  It is 85‑year old Düüdei’ s belief (IN) that the Bayad in the border sum of Tes copied the Urianxai. This however was disputed by Byambadorj (IN), a knowledgeable Bayad in charge of the Ulaangom Museum.

He pointed the relationship between ?// (cannot readt the text badly photocopied) an epic performance. He suggested that since the Bayad had a strong epic tradition it was likely that xöömii was also indigenous, In Byarribadorj’s opinion, the influence between the two groups of people was mutual, arising from (instant interaction between the Uriarixai and Bayad in pre‑Revolutionary Mongolia). Many of the Mongols in the seven sum which lie along the border with Tuva intermarried with the Urianxai and gave children to families across the border (Piiveen IN). They also traded with each other, and some of the Urianxai xöömiich (xöömii performers) settled in Uvs.(Note 7) Certainly the xöömii tradition was strong among the Bayad in the 1930s. Jamiyan, who was a teenage Bayad herder in Tes sum at that time, recalled that almost everyone could perform xöömii (IN). Later, in the 1950s and 60s, the media also began to aid the dissemination of xöömii and its different styles, reaching yastan which previously had no known tradition of it. For example, 40‑year old Dörvöd Tseveen copied Tuvan xöömii performers whom he beard on his radio whilst herding as a boy in Ölgii sum, Uvs aimag.

ii. Xovd aimag. Xovd aimag is divided from Xirijiang, (note 8) an autonomous region of northwest China, by theAltai mountains in the south and southwest and lies to the south of Uvs aimag. Xovd is divided into seventeen sum in which ‘live six different yastan.(note 9) The people of Chandman’ sum, who are XaIxa, believe that Mongolian xöömii originated there (note 10) Certainly, Chandman’ sum is the source and centre of xöömii revival in Mongolia and of its transformation into a cultural “art form” (see below). But xöömii is also found amongst other yastan in Xovd aimag‑for instance, among the Torguud and Urianxai in Bulgan sum, (Tsoloo IN), the Bayad and Dörvöd in Uvs aimag (as described above)‑‑and also among the Tuvans in Tsengel sum, Bayan Ölgii aimag.

iii. Bayan Ölgii aimag. Bayan Ölgii aimag lies in the extreme northwest of Mongolia. On its western border the Altai Mountains separate it from China and in the north from Russia. To the East lie Uvs and Xovd aimags. In Bayan Ölgii aimag are three yastan: Tuvan, Urianxai and Kazak. The Tuvans, who live in Tsengel sum, say that they originated in that area and spread out from there to present‑day Tannu Tuva (Magsar IN). (note 11) Now there are less than 1,000 Tuvans. (???cannot read from photocopy) population are Kazak. In “the old time” when the Tuvans herder yaks and lived in the high mountain there were many xöömii perfromers  as thers are now in Russia (Magsar ) The Kazaks also perfrom xöömii


            The majority of Mongols are semi‑nomadic pastoralists who, despite political changes, have led a virtually unchanged lifestyle since the time of Chinggis Xaan. They continue to live in round felt, easily transportable tents called ger, to lead a semi‑nomadic life within a prescribed (note12) area in accordance with the wealth of pasture, and to use the animals they herd for their own subsistence needs. Chinggis united the Mongol tribes in the thirteenth century, founding a great empire which eventually encompassed the whole of China and spread as far west as the Black Sea. When Mongoliasuccumbed to Manchu rule in the sixteenth century, the aristocratic princes (xan) and noblemen (noyon) retained their position of dominance within Mongolian society, although they remained answerable to the Manchu Emperor and paid tribute to him (apart from a ten‑year period of autonomy beginning in 1911) until the communist‑inspired revolution of 1921. In pre‑revolutionary Mongolia, when Lamaism was strong, xöömii was used in everyday contexts despite the disapproval of the lamas, who did not like people to indulge in such secular activities.

A consideration of some Mongolian perspectives on xöömii will assist in greater understanding and help to distinguish differences in the way in which Mongols and some Westerners view it.



1 Performance contexts


1 Herding

Xöömii was popular amongst the Urianxai and Bayad camel herders and the Bayan Ölgii Tuvan yak herders. For instance, Mangiljav, a 48‑year‑old Bayad, camel herdsman, is a fine xöömiich who used to perform whilst looking after the herds as a child. He learned from Setsen, his avga (uncle on father’s side), and recalled how his uncle’s xöömii could be heard over a great distance, an ability which was much prized. The Bayad Jamiyan, for instance, recalled People who could be heard over a distance of three kilometres (IN)  The Tuvans in Bayan Olgii aimag used xöömii to “call” yaks ‑ a function which may be connected with this great value placed on carrying power.

2 The ger

In pre‑revolutionary Mongolia, xöömii was also performed within the ger, the round felt tent which was the standard home of the nomadic Mongols. Düüdei (IN), for example, recalled how, during her childhood in Tes sum, Urianxai camel‑herders came from Tuva to gather Sea Buckthorn (Note13) berries, which they used for medicinal purposes and which only grew in Tes sum. Bringing with them many camels and much baggage, they often spent four or five days in her father’s ger, during which time they performed xöömii She noted that before performing they would always repeat the following couplet:


Altai tsantai jurtentei

Amban noen zaxirgaatai. (note14)


suggesting that, in contrast to the lamas’ attitude, the people did treat the performance of xöömii with respect. It is possible that this short introduction was an “offering” to the Altai mountains in much the same way that Altain Magtaal / Praise Song to the Altai Mountains was always performed by the Uriarixai before the rendering of an epic.


3 The noyon’‑s nair / nobleman’s celebration

Jarniyan (IN), born in 1924 in Tes sum, recalled how the noyon JaJin Gün would invite the best bii (Note15) dancers, two‑stringed spiked fiddle players (ixelch) (note16) longsong singers (urtyn duuch) and xöömii performers to his ger to entertain distinguished guests. Xöömii performers, however, were not usually invited to the herders’ own nair (celebrations), to local nair held by the noyon or to a nair held officially (alban yusoor).


4 Chigee uulaax / to cause to drink fermented mare’s milk (note17)     


This term was used for a collective celebrations forming part of the wedding ritual known as “seeing off the bride”; it was the only herders’ celebration at which xöömii was performed. Over several days the bride‑to‑be would be invited to the ger of different relatives, accompanied by two xia (note18) and someone whose function was to carry her gifts. She had to wear a special hat and to cover her face with a scarf. Inside each ger she would be offered special meat to eatsheep’s breast, adjoining meat and roasted fat‑and a nair would be held at which, as above, dancers, fiddle players, long‑song singers and xöömiich would perform.


2 Theories of origin


The people of Chandman’ sum believe that xöömii explain its origin in several ways.


1 Nature and the supernatural


The Performance of xöömii and the claim that Chandman’ is its place of origin is attributed to the unusual natural features of this sum: the mountains, lakes. rivers and birds. This “natural origin is also linked, however, with the supernatural or magical.

The geographical features of Chandman’ sum are unusual in Mongolian terms in that it is surrounded on three sides by mountains and lakes. Its western border is formed by Lake Xar Us Nuur in the north and two high mountain ranges, Zuun Jargalantyn Nuruu and Xuremtiin Nuruu. The eastern border is formed by two lakes, Xar Nuur and Dargin Nuur. The two largest lakes, Xar Us Nuur and Xar Nuur are connected in the north by a much smaller lake, Dalai Nuur, and by a river called Chono Xaraix. To the south lies semi‑desert.

Birds. It is claimed that several birds produce xöömii ‑type sounds. For instance, the usny buxI bittern (Note19) keeps its head under water in the lake and produces a sound which can be heard a saaxalt (note20) away (Sengedorj IN). The crane (togoruu), said to live for 3,000 years, also has a distinctive call which, when heard, is considered a portent of long life (Bolorma IN). The noise produced by the wings of the snow cock (xoilog), widespread in Mount Jargalant as well as on the lakes, is said to be very like the sound xöömii. Xöömii is sometimes referred to as the ‘voice’s echo” or “bird’s echo”.

Mountains. The mountains stand alone in the steppe, seperated  from the main Altai massif. The people of Chandman’ sum stress that the sounds heard in the mountains have a special quality, and those who live on MountJargalant often discuss the variety of sounds which they hear. For example, they say that sounds are different in the morning from the evening because of a difference in the flow of air (agaaryn ursgal), that common sounds such as rain sound quite different in the mountains, and that there is a particular kind of echo which enables a noise to be heard four or five am (note21) away (Tserendavaa INa).

Mount Jargalant also has a special power. It is said to be able to “hold” the very strong winds which come from the west before releasing them into the steppe below. Sometimes the wind is “held” for four to five hours (Sengedorj) sometimes 24 hours (Tserendavaa INc) and sometimes for as long as three days. During this time the mountain drones or makes a hollow sound (dungenex). The people in the steppe below are thus warned of the impending wind and able to make preparations to meet it. Old people credit the same power to the lake as well. They say that Mount Jargalant and Lake Xar Us Nuur ” attract and digest the sound of the wind” (tataj sleingeex). Batchuluian (IN), a horse herder who lives on the steppe between the mountains and the lake, talked of a musical communication which is set up between the two. His father, a very good xöömiich born 100 years ago, told him, “Our mountain and lakes speak to each other in musical language, and that is why people living between do the same.” His father added that the music had a beneficial effect, which explained why the horses there are bigger, the cattle very good and so on.

Rivers. In addition, the mountains contain many rivers and waterfalls, which produce different combinations of sounds according to the types of stones over which they run. On the peak of Mount Jargalant is a small river‑itself an unusual phenomenon‑which is said to produce good sounds. Once again, though, the explanation in terms of nature is elaborated to include the magical. A particular river is cited as the origin of xöömii ‑ the River Eev‑and this has “magical” properties.        For the peoples of western Mongolia, the River Eev has become a symbol of the “old time” before the Oirad (western Mongols) settled east of the Altai mountains. Identification of its exact location varies. (Note 22) Although everyone knew of it, I never met anyone who had personally seen this river. In old times , Urianixai people used to say that they wanted to drink the water of the River Eev before they died. For all of the yastan in westernMongolia it remains a powerful symbol. Opinions differ about whether it was a river or a stream, but all agree that it made particularly unusual sounds as it trickled or ran over stones. Chuluun used to perform a melody on his morin xuur (note23) Called “The River Eev”(note 24) or “The flow of the River Eev” producing xöömii at the same time. He said that this melody represented the sound of the River Eev which was connected with the origin of xöömii and with the playing of the tsuur. (note25) Xöömii said Chuluun is an interpretation of the sounds of the River Eev in the mind of the xöömiich.

The sounds of this river also had a magical effect. They lured animals to the water to drink but then bewitched them, causing them to fall in (Margad IN, Tserendavaa INb). They also had the power to entrance people. For example, the tale was told of a young girl who went to the river to get water: once she heard the melody of the river she remained there all day, forgetting her mission (Tseveen IN). Samdan (IN) maintained that people born by the River Eev became very good singers and very beautiful people.


2 Historical and legendary time


There is no firm evidence to suggest a date for the origin of xöömii in Mongolia. Historical documents refer to musicians, 300‑strong court orchestras and singers, but xöömii is never mentioned. One of the earliest apparent references to overtone singing appears in Serruys’ translation of a sixteenth‑century Chinese document, containing a description of songs which have “beaucoup de sons de la gorge et des levres that is, “many sounds from the throat and the lips” (1945:153). Another clue, perhaps more definite, occurs in a sixteenth century French poem which seems to describe overtone singing (Anvers 1520, cited in Leothaud 1989).


J’ay veu comme il me semble,

Ung fort homme d’honneur,

Luy seul chanter ensemble

Et dessus et teneur


I saw, it seems to me

A strong man of honour

Singing together with himself

Both above and below. (Note26)


And three centuries later, in a paper given in 1840 to the French Academy of Sciences, Garcia referred to the solo two‑part singing of the Bashkirs (OP.Cit.).


This lack of documentation is possibly because the elevation of overtone singing (and of Mongolian traditional music generally) into an “art form” postdates the Communist Revolution of 1921, when the “music of the people” became imbued with special value and found support from “people’s power” ,Tserendavaa INb). Cultural centres were included in the small group of Administrative buildings placed at the centre of each sum, and local traditional music performers were enlisted to give concerts. The theatres built in each aimag centre drew their artists from those who performed at the cultural centres.

For the people of Chandman’, the origin of xöömii lies in a legendary time when Bazarsad used to perform at nair (celebrations). The xarxiraa xöömiich Margad, now 50 years old, recalled that when he was a boy the old people used to talk of Bazarsad of Chandman’ sum, who lived in ancient times. They described him as being very tall and strong (chadaltai) and a very good wrestler.

When horseman Dashdondob was five years old in 1923, he heard that Bazarsad was the first to perform xöömii in Chandman’ (IN). It was said that he performed türlegt or xosmoljin xöömii a combination of long song with different xöömii techniques, and that when he performed this kind of xöömii well, the spirits of the land and waters came to listen to him (Tserendavaa INc). Although no‑one has actually met or heard Bazarsad, it is affirmed that none will match his skill. By contrast, people did know Chimiddorj, who performed three‑voiced xöömii and Togon Chulum the man who is credited with beginning a new stage in xöömii development.


3 Development of xöömii as a cultural art form


In pre‑revolutionary Mongolia, the performance of xöömii was a secular tradition which had been passed down from generation to generation but was in decline (Sengedorj IN). Old people in Chandman’ sum attributed this to the predominance of Buddhism saying that the disapproval of the lamas caused an interruption in xöömii  development. The Bayad in Uvs aimag still consider it to have declined, since at present only two or three young people can perform it (Jamiyan IN). The new development in the history of xöömii came from Chandman’ sum in Xovd aimag through individual xöömiich


1 Chandman’ Xöömiich


Togon Chuluun was a XaIxa Mongol born in the 1890s who, in addition to performing xöömii whistled, played the tsuur and excelled on the morin xuur  Before the Revolution, he often used his skills when travelling with a camel train to secure himself food and lodgings in ger along the route. There is some disagreement about whether Chuluun learned overtone singing from the declining tradition in Chandman’ sum and later improved his performance whilst in military service in the West Border Guards, or whether he learned the skill whilst in the Guards. In any event, it was Chuluun who, in 1930, first demonstrated xöömii as a “folk art” (Tsambaa IN). He had many pupils, including the now well‑known xöömiich Tserendavaa. These pupils developed xöömiii into a national “art” form capable of winning many medals in folk competitions.

Tsedee is the man accredited with the introduction of xöömii to the rest of the country. He lived on the lakeside and learned xöömiii from Chuluun. In 195? Tsedee joined Xovd Theatre, becoming the first professional xöömii perforner inMongolia. In 1954 Xovd Aimag Musical Drama Theatre (Xovd Aimagiin Kogjimt Dramyn Teatr) visited the capital,Ulaanbaatar, to present a (dekaden (note27); or ten‑day) concert, and Tsedee became the first person to perform xöömiii there. Xöömii was subsequently officially recognised as a professional “art”. After Tsedee, Sundui joined Xovd Theatre.

Sundui is considered to be the founder of what has been termed the “modern classical form” of xöömii (Tserendavaa INb). He is said to be unique among xöömii performers in that he can produce half tones, rather than the usual full tones. (Note28) He can perform classical European melodies by composers such as Tchaikovsky and Bizet (Batzengel 1980:52) and is able to make vocal leaps over wide intervals (Sengedorj IN). He has a high technical level of xöömii performance, can produce “a scale using four vowels” (gammalax dorvon egshig: Tserendavaa INC) (note29) and is thought to be a possible match for the legendary, Bazarsad.

Sundui’s main attributes are said to be: xevliin bagtaamj sailai / having good storage capacity in the stomach; duuny xooloi saitai / having good throat sounds; and mash ix tamirtai / having great physical strength.(note 30)

Sundui later joined the State Folk Song and Dance Ensemble (Ulsyn Ardyn , Duu Bujgiin Chuulga) in Ulaanbaatarand has now retired. He has  many pupils, among them Sengedorj, who is now with the Xoyd theatre, and Tserendavaa.

Najid Sengedorj has no formal musical education but joined Xovd theatre in 1975. He learned xöömii in Chandman’ at about age five, performed xöömii  in the tenth Festival of Young People and Students and has since travelled widely in Eastern Europe.

Ganbold, currently with the Ulaanbaatar Ensemble, is also from Chandman’ sum. He is able to perform a scale (gammalax) on more vowels than Sundui (Tserendavaa INc). Since he is still a young man, it is thought that he will become very good.

Tserendavaa is a truck driver and a skilled musician. He performs many types of song, including western Mongolian long songs (urtyn duu) and praise songs (magtaal, and plays the horse‑head fiddle (morin xuur) and two‑stringed plucked lute (tovshuur). Together with Badraa, he has identified seven types of xöömii (see below), teaches xöömii in the school in Chandman’ sum and has now begun to teach foreigners in Ulaanbaatar.


2 Training methods and transmission


Performers and teachers of xöömii in the West are largely unaware of the physical problems which its performance can precipitate, stressing only its potential beneficial effects. I was specifically requested by Mongol performers to alert practitioners to the dangers and to attempt to enlist scientific aid in understanding and counteracting the problems. InMongolia, the performance of xöömii is surrounded by rules and regulations.

Learning and performance. Emic theories stress that the training period for the performance of xöömii should be lengthy, preferably beginning in childhood (Tserendavaa INb, Sengedorj IN). Childhood should be a period of “learning”, with “performance” reserved for one’s maturity. For instance, Tserendavaa began learning at age nine but did not “perform” until age 25. Traditionally, learning was by example and imitation. Tserendavaa recalled his first, childhood experience of xöömii, which was to have an enduring effect. The arrival of the xöömiich at his home had left a strong impression in his mind. One evening a “white‑haired, bearded old man rode up on a greyish horse which shone like silver (buural), looking for two lost horses.” The man, later discovered to be the xöömiich Chulutun, spent three nights in the family ger. During that time Tserendavaa listened to his xöömii and learned from him to play the horse‑head fiddle bought for Tserendavaa by his father. Tserendavaa became a xöömiich to repay his debt to this man. Since 1981 Tserendavaa has taught xöömii to children in Chandman’ secondary school. His method is to define which type of xöömii the pupil is naturally attempting, then to give individual advice according to this chosen type and the stage the child has reached. His main teaching method is demonstration. Tserendavaa pointed out that the difficulty in working with children is that they drift between different types. He emphasized the need to learn the general rules of performance and then choose the specific kind. Aids are sometimes used to acquire a “good xöömii voice”. For instance, a cup is held to the mouth to provide an echo,  (ayagaar devex; lit. to fan by means of a cup), or a pupil is made to xöömiilox against the wind (salkiny ogsuur xöömiilox).Once a “good xöömii voice” is acquired, these devices are no longer necessary. Traditionally xöömii has been performed only by men, but Tserendavaa has begun to teach women. The few women in Mongolia who can xöömiilox have all been taught by him.

Physical problems: Can you wrestle? Chuluun stressed that xöömii is a difficult art demanding self control, endurance and great strength. As an illustration of the strength needed, Tserendavaa described how the legendary Bazarsad’s hair used to stand on end when he performed. He compared the strength needed with that required for wrestling, pointing out that both Bazarsad and Sundui, the two most renowned xöömiich, were also famous wrestlers.The ideal age for wrestling is 25‑ the peak of male human strength. Unless the performer has this strength and the other qualities outlined by Chuluun, xöömii; performance is believed to be harmful for the body. Tserendavaa stressed that physical problems associated with xöömii performance needs to be the object of intense scientific research. His own experiences illustrate some of the problems which may occur. As a child, he injured his larynx (tovonx batsrax) while learning and couldn’t swallow for some time. He has also often broken blood vessels. He advised eating a good meal before performance. In 1982 Tserendavaa took part in a concert in Ulaaribaatar for the Twelfth Trade Union Congress and had not eaten. He felt hungry during the concert and, when he was producing high overtones, he lost consciousness. He needed an operation for broken blood vessels near his eyes and was advised to give up xöömii‑but he says that he is unable to do so. He is now 35 and has been “performing” for ten years. Over the last two years he has been performing more often and has begun to have more problems. Because of the strength and power demanded by its performance. xöömii becomes more difficult with age. After age 40, the technique may survive, but there is a loss of the necessary power. Tserendavaa stresses that achieving a “true xöömiii voice” requires overcoming many bad physical effects. His advice is that men should not perform it in advanced years.

Davaajav, a tseejiin xondiin/chest cavity xöömiich, noted that, although xöömii performers are generally also good singers, it becomes increasingly difficult to sing well because of physical changes which occur in the throat. From his own experience, he supports the view that the performance of xöömii affects the body, and he agrees that a person cannot perform xöömii over in extended period of years. Amateur xöömii performers are, he said, able to perform for longer because of the infrequency of performance.

Women. The performance of xöömii by women is a recent phenomenon. Those who do perform are young and are pupils of Tserendavaa.. Xöömii is considered particularly bad for women’s health, so there are strict rules associated with its performance (Badraa IN, Tserendavaa INc). Women should not begin to learn before the age of 17 or 18 and should only be active Xöömiich between the ages of 20 and 24. They may continue to perform until age 30 if they are not married. Once married, however, they should not continue, and after childbirth they are believed to be unable to perform well.


4 Mongolian classification of  xöömii


A. Uyangiin xöömii/melodic or lyrical xöömii


Overtone singing styles vary in Mongolia according to historical period, ethnicity and the ability of the individual performer. For example, XaIxa xöömii styles differ from Kazak and Tuvan styles. Different yastan have their own ways of describing the same types of xöömii. For instance, the xelnii ug style referred to by the Bayad xöömiich Mangiljav as being the most popular in Tes sum when he was a child in the late 1940’s and early 1950’s is performed with the xöömii situated at the back of the tongue or in the throat (IN) and is called by the XaIxa bagalzuuryn xooloin xöömii / throat xöömii. Some yastan, however, have types of Xöömii peculiaronly to their group. Tseveen, a 40‑yearold Dörvöd from Olgii sum, demonstrated two such styles: the Urianxai style of xöömii known as xargia (Note31) in which he cupped his hand to his mouth, and shudniii xöömii/tooth xöömiii as performed by the Kazaks. Purev, a 34‑year‑old Tuvan from Bayan Olgii airnag, used the term xöömii to refer to the very low pitched biphonic sound which he produced, but when using melodic overtones deriving from a drone pitched in a higher register denied that it was xöömii. When demonstrating the sounds produced in “the old tme”, Purev growled impressively from deep in the chest, using the very low fundamental AA,(note32) and referred to it as xargaraa.(Note33)

The attempt by the Mongols to classify styles is fairly recent and has been completed most effectively in relation to the Xalxa of west Mongolia. The XaIxa  xöömiich Tserendavaa pointed out that until the folk music specialist Badraa came to Chandman’ sum in 1982 to produce a film called “Mongolian Xöömii”, he had realised that he used different positions of the tongue, lips and so on but had not conceptualised the differences. He subsequently held many discussions about xöömii classification with Badraa, and the conclusions they reached were incorporated into the film, which won a prize in the International Telefilm Festival. During a tour of England (note34) in 1988, Tserendavaa identified and demonstrated the different categories of Mongolian xöömii as follows.

A. uyangiin xöömii /melodic or lyrical xöömii:


1. uruulyn / labial xöömii

2. tagnain /palatal xöömii

3. xamryn/  nasal xöömii

4. bagaIzuuryn, xooloin / glottal, throat xöömii

5. tseejiin xondiin, xeviiin / chest cavity, stomach xöömii

6. türlegt or xosmoljin xöömii / xöömii combined with long song (Note35)


The sixth type is a combination of speaking (xelex), singing (duulax), humming (ayalax), long song (urtyn duu) melodies and all five melodic types of xöömii. Tserendavaa developed this style, having heard that the legendary xöömiich Bazarsad could perform this combination, and calls it türlegt xöömii (note36). Researchers in Ulaaribaatar have named it xosmoljin xöömii. Tserendavaa, demonstrated the style by performing “Widespread Happiness” or Jargaltai Delger, (note37) using the more restricted range of the west XaIxa variant of the melody rather than that used by the central XaIxa.

Tserendavaa noted that the most difficult types of xöömii to perform are nasal xöömii and türlegt xöömii. Both of these are characterised by much -chinex ‑blood rushing to the face. Nasal xöömii is difficult, he said, because it is necessary to create a powerful flow of air by forcing it through a small channel. Since türlegt xöömii includes elements from all other kinds, it is also very difficult. He needed ten years to master türlegt xöömii, which he first demonstrated in the United States in 1987. In 1988 he won a gold medal at the National Folk Art Competition in Ulaaribaatar performing türlegt xöömii accompanying himself on the morin xuur (horse‑head fiddle).


B. xarxiraa


Tserendavaa also identified a style of xöömii known as xarxiraa, which he compared to the sound of a “rippling waterfall” (note38) He was however unable to Demonstrate it, since it requires a deep, powerful voice.(note39) The relationship between uyangiin (melodic) xöömii and xarxiraa has been the source of some dispute among Mongol performers and academics. Traditional music researcher Badraa and the xöömiich Tserendavaa classify them separately, a division which is maintained in categories of performance at folk art festivals (Bawden 1991 OS). Badraa (IN) suggested that xarxiraa lacks the overtone melody (uyangiin isgeree; lit. melodic whistle). Others, however, such as Sengedorj and Margad, both from Chandman’ sum, think that xarxiraa is the source of xöömii and that xöömii is founded on it. Margad sees xarxiraa not as a separate style but as the oldest form of xöömii and the background colour or tone (devsger ongo) out of which others developed. In his own performance of xarxiraa, Margad produces an overtone melody. Sengedorj’s argument was that since there is only one flow of air through the vocal tract, there can only be one type of xöömii.  He acknowledged a different technique for xarxiraa and xöömii, however, saying that if the throat is open (zadgai xooloi) the sound produced is called xarxiraa, whereas if it is “closed tightly” (xumix xooloi) then the sound is called xöömii. He also admitted that the stream of air goes through three places‑the nose, lips and throat‑and stated that this is how the terms xamryn (of the nose), amny xendii (of the mouth cavity) and xooloin xöömii (of the throat) have arisen. And he recognised that some people can only produce one type. Davaajav, who performs tseejiin xondiin xöömii and sometimes bagalzuuryn xöömii, agreed with the concept of different types of xöömii. As a xoomich he felt a difference between them but did not know how to explain. He opined that it is not possible for one person to perform all types.


5 The Four Siblings (ax duu): overtone singing, epics, long song and horse‑head fiddle


Tserendavaa likened the relationship of the four main types of traditional “art”‑xöömii/overtone singing, Tuul/’epics,  urtyn duu/long song and morin xuur/horse‑head fiddle‑to that of four ‑siblings‑ or “brothers and sisters”. A further instrument should be added to the above list which, possiibly because it is not XaIxa, was omitted by Tserendavaa. The tsuur, played by the Urianxai, Kazak and Tuvans in Bayan Olgii aimag, is a three_holed vertical flute through which the performer plays a melody whilst simultaneously producing  a low‑pitched vocal drone.

This ax duu relationship is significant partly in terms of the sounds produced, for the above traditional musical forms all comply with the Mongolian conceptualisation of traditional music, which involves the division of sound into a low drone above which is laid a high melody line. This division of sound has been discussed above in relation to xöömii. The sounds produced during xöömii are often related to those produced in xailax, the deep, declamatory, non melodic technique used for the performance of epics. Sengedorj, xöömiich and tsuur player with the Xovd theatre, proposed that xailax and xöömii originated from the same source but developed differently within the context of different yastan. Similarly, Byambadorj, assuming a relationship between epic and xöömii vocal techniques, used the presence of a strong epic tradition among the Bayad to validate his argument for the indigenous nature of Bayad xöömii. In neighbouring areas, epics and xöömii performance are more obviously related. For example, xai throat singing amongst the Khakassians usually accompanies epic recitation (Maslov and Chernov 1979‑80:86).(note40) Long songs consist of a highly ornamented, long drawn‑out single melody line but are usually accompanied by the horse‑head fiddle which echoes the vocal melodic line whilst simultaneously supplying the underlying drones. As noted above, turlegt xöömiii also combines long song with xöömii. Regarding the tsuur, the programme notes for xioomii performances at a folk art festival (Bawden 1991 OS) gave one category as “xarxiraa xöömii (aman tsuur)”, i.e., (mouth tsuur), thus making the connection between the sounds of one kind of xöömii and the tsuur.

In addition to the similarity in the sounds produced, Tserendavaa pointed out that these traditional musical forms relate as “brothers and sisters” in that their origins connect and harmonise with nature (baigal’) and the environment (orchin axui). He particularly stressed the relationship of the traditional musical forms to baigal’, noting that the performance of xöömii was not associated with culture (soyol) until the 1930s when Chuluun demonstrated it as a “folk art” (see above).




1 The magical sounds of overtone singing


The experimental composer Karlheinz Stockhausen tells how he was inspired in his vocal work “Stimmung'” ‑ the first major Western composition to be based entirely on the production of vocal harmonics‑by a range of Mexican gods and magical forces (D). Similarly, David Hykes relates the overtone sounds of his New York‑based “Harmonic Choir” to “solar winds”, “gravity waves”, “the flight of the sun” and so on (D). In England and America, the “caring 1990s” is said to be replacing the “Thatcherite materialistic 1980s”. The New Age movement, which embraces the beliefs of esoteric religions and a wide range of alternative healing techniques, is becoming increasingly popular as people seek to reinject a spiritual aspect into their lives. Perhaps because it is an exotic and strange sound, Mongolian overtone singing is being assimilated into this movement and is increasingly being promoted as a means of meditation and of alternative or magical healing. It is being linked with Tibetan overtone chanting and advertised as a means of spiritual and physical healing. Proliferating New Age gurus link overtone singing with both Buddhism and shamanism, assuming that its performance has beneficial effects on the body. For instance, “overtone chanting” influenced by “Mongolian and Tibetan shamanic techniques” has been advertised as a means of “sonic meditation”, as “chanting for psycho‑physical transformation” and as a “magical voice technique” (Purce 1991). In alternative healing it is claimed to be able to “reharmonise the patient’s energy field” (Cocker 1990 OS) and to cause “miraculous healings” (McGregor 1991 OS).

Little work has been done in the West on the potentially harmful physical effects of xöömii. The Vietnamese musicologist Tran Quang Hai does warn that it may be dangerous and suggests that practice should be limited to ten or fifteen minutes a day. As a performer himself, Tran also underwent a clinical examination which showed slight inflammation of the vocal chords and some wearing away of the lining of the nasal passages (Sauvage 1989:6). But he also shows a desire to popularise it, having elaborated a series of physical instructions to enable the production of a form of overtone singing to be accessible to all (1978:163‑4; 1989:15‑16) and collaborated on Zemp’s film which, as a cinematic technique, treats those watching the film as workshop members, encouraging them to try it for themselves (Zemp and TrAn 1989 F).


2 Acoustical and physiological analysis of sound


Spectral analysis and the sonogram have been used to analyse the sounds produced in xöömii in order to understand both the sounds themselves and the physiological processes which produce them. Spectral analysis was used initially to identify the range of partials from which the melody tones are selected, namely the 6th to 13th partials but excluding the 11 th (Walcott 1974:55‑9). My own experiments with Tserendavaa confirmed this. His use of the 7th and 11th partials as auxiliary rather than structural notes support the suggestion that tones were selected in accordance with the anhemitonic pentatonic scale typical of Mongolian traditional music (Huglies n.d.; Cross 1990 OS).

Physiological aspects of xooiii production have been investigated with the aid of X‑ray films. In the early 1970s X‑ray films were made in  Paris (note41) of  Tran Quang in Leningrad (note 42) of Tuvan throat singers and later, in 19?? , in Khahassia of  Khakassian throat singers (Maslov and Chernov 1979‑80).  More recently Tran Quang Hai underwent video examinations of his larynx and buccal cavities in Limoges (paller 1989: 11‑15) and had an X‑ray film recording made of his nose and throat whilst performing overtone  singing with sinlge and double buccal cavities as part of Zemp’s film, Le chant des harnoniques (Zemp and Tran 1989 F). This film also shows multi‑coloured sound spectra of  several types of Mongolian overtone singing  (as well as examples from Tuva, Africa and India) reproduced in synchronic sound and in real time using advanced technology of the DSP sona‑Graph Model 5500 which had been acquired by the Department of Ethnomusicology at the Musee de,l’homme.

The fascinating and informative sonograms used in the film have been impressively augmented by Zemp and Tran’s 1991 paper “Recherches experimentales sur le chant diphonique”, in which the physiological characteristics the recorded styles from Tuva, Tibet, Mongolia, Altai, Rajasthan and South Africa are compared with the aid of illustrative sonograms. The strength, range, and contours of bourdons and partials are clearly shown and, by using Tran Quang Hai’s imitative skill in reproducing the same contours, physiological data is provided on the use of different resonating cavities, muscular contractions and ornamentation techniques.

Following Stumpf’s work on the analysis of sung vowel sounds (1918), recent work has also been done on the association of vowel sounds and pitch. Tran Quang Hai (1980:163) elaborated on the way in which the pronunciation vowels produces a series of partials the range of which depends on the tone quality of the singer’s voice and windpipe, and David Hughes (1989) discusses, the use of vowel‑pitch solfege systems in different societies.

As a result of the above acoustical and physiological research, it is possible to give a broad outline of the factors which influence the range, selection and production of partials and which consequently determine the tonal colour xöömii. These include the following five, which overlap to some extent:


a)                     the size of the buccal cavity, which may be separated from the pharyngeal cavity by the back of the tongue or divided into a front and rear cavity by raising the tip of the tongue to the palate (Zemp and Tran 1991:31; Tran and Guillou 1980:171);

b)                    the contraction of muscles in the stomach, neck, pharynx, the nasal passages and in the soft inner walls of the other cavities of the vocal tract ( (Winckel1960; Gunji 1978:136; Zemp and TrAn 1991:39‑46);

 c)  the production of different vowel sounds (Stumpf 1918; Guriji 1978,Tran 1989; Hughes 1989); the pitch of the fundamental, which in part determinesthe frequency range within which partials are available for selection (Walcott 1974; Cross 1990  OS; Zemp and Tran 1991).

c)                     manipulation of the muscles of the vocal tract as under point (b), in order to select as primary resonator either the buccal or the pharyngeal cavity, thus 

      emphasising respectively the second or first formant, the latter resulting in the Tuvan kargyraa (Hughes 1989).


Since it is not possible to illustrate adequately in the space available the depth of acoustical and physiological research that has been accomplished, and since the main thrust of this paper is to present the Mongolian viewpoint, it is hoped that the reader will examine the rich data now available through the sources cited.


3 Conceptualisalion of sound


only etic observers compare the sounds produced in overtone singing with those of the jew’s harp (aman xuur, that is, mouth harp). Since the French scientist Manuel Garcia pointed to a similarity between the Bashkirs’ uzIiau overtone singing and the sound produced by a “jew’s harp” in 1840, others have followed suit. For instance, Vargyas (1968:71) made the same comparison in relation to the Tuvans, and this has been echoed by others in relation to the Mongols (Hamayon 1973, Heiffer 1973,Guriji 1978:135). The techniques do have some similarities. In both cases the mouth is used as a resonator and the articulation of silent vowels produces harmonic overtones above a fundamental drone. In the case of the jew’s harp, however, the fundamental is generated by an extrasomatic source‑the tongue of the jew’s harp whilst in overtone singing it is generated by the vibrating vocal chords. Mongolian xöömii is also more diversified and expressive than the sounds produced by a “jew’s harp”, and the techniques used are far more complex. As shown above, the production of each type involves the use of different breathing techniques and changes in tension in the vocal cords, the pharynx, the nasal passages, the windpipe and so on. When Sundui was asked, during a seminar session in Japan, about the validity of the comparison between xöömii and the jew’s harp, he pointed out that whilst the control of the mouth cavity is quite similar, the control of the breath is quite different (Emmert and Minegishi 1980:48). During my fieldwork in Mongolia, xöömii performers in Chandman’ consistently denied any connection between overtone singing and the jew’s harp, insisting, as outlined above, on the interrelation ship of the sounds produced in xöömii with those of the other traditional musical forms and the connection which all of them have with nature.


V Conclusion


Although there is evidence that xöömii was used in secular contexts in Mongolia, there are also indications that it had religious or magical connotations. For instance, the legends of origin of xöömii outlined above link the sounds which inspired xöömii with beneficial effects on living creatures: the horses and cattle in Chandman’ sum are extra fine because they exist beneath the “musical communication” set up between mountain and lake, the people living by the River Eev are fine singers and also beautiful, the call of the crane is a portent of long life and so on. These sounds are both natural‑in that they emanate from natural phenomena such as mountains, lakes, rivers and birds‑and supernatural in the effects which they have. Although there is no firm evidence of a link with shamanism, pause for thought is given by the stress laid upon “nature” as the origin of xöömii in a people whose folk religion was based on communication with spirits located in natural phenomena. Clearly if the combination of mountains and lakes was the only necessary inspiration, overtone singing would be more geographically widespread. My experiences in western Mongolia showed that the belief in spirits of the mountains did not die during the years of Communist rule. Hunters who five on Mount  Jargalant continue to make libations of fermented mare’s milk (airag) and to burn juniper leaves (arts) and incense (xuj) before setting out on a hunting trip, requesting that the mountain should bestow game upon them that day. And when a tyre burst on my jeep, the former lama who accompanied me knelt in the direction of the mountain and prayed. It would be surprising, therefore, if strange sounds which had the dual function of warning of impending danger and enabling everything beneath it to flourish and which emanated from within the mountain where a spirit was thought to dwell had not, in former days, been interpreted as communication from that spirit. Mongolian traditional music researcher Badraa (IN) also links xöömii with religious belief when he categorises it as a form of whistling, which he believes is one of the earliest noises made by man in imitation of nature; until recently whistling was used to call up the god of the wind.(note43) Similarly, the legendary xöömiich Bazarsad’s performance of tiirlegt xöömii was said to attract the earth and water spirits. Such references to spirits and gods are not insignificant given that at the time of my field trips the Mongols had not reached the degree of openness and freedom of speech and belief which they are now able to enjoy.

There is, then, some basis from the evidence within Mongolia for the belief that these sounds are related to religious belief and particularly to natural phenomena. It is perhaps partly because of a former religious association that the Mongols surround xöömii performance with rules and regulations. But it is also related to the fact that performance of the more difficult types of xöömii may cause physical damage while sustained performance of less difficult types cause physical changes which may also have adverse effects. Whilst an argument could be made that those listening to overtone singing may be effected beneficially (as those hearing the xöömii‑type sounds of mountain, water and birds in Mongolia), the evidence from Mongolia contradicts the idea that those producingxöömii  sounds will also automatically benefit‑suggesting, in fact, that xöömii performance may cause considerable physical problems. At a minimum, those people who are teaching the production of those sounds should be aware of this and also aware, as Tserendavaa pointed out, that beginners may “drift between types”, thereby doing themselves unwitting harm.


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MICHAEL ORMISTON : Mongolian Khöömii Singing Papers, Singers and Recordings


Mongolian Khöömii Singing Papers, Singers and Recordings


There have been many explanations of khöömii that I have come across over the years. I will attempt to point to the main contributors and sources. My own studies brought me to Mongolia in 1993/4/7 and 2000/5/6 and I have interviewed attended and set up workshops with Gereltsogt (London 1993) and Tserendavaa (Europe 2002) that gave me further insight. This page is still under construction and will be updated as I find time to put more information on. If you would like to send me any information regarding Mongolian khöömii and if any Mongolian khöömii singers would like their own page on this site then please email me at  ormi_khoomii@yahoo.com


Carol Pegg’s articles on Khöömii

Khöömii nomination extract for UNSECO Intangible Cultural Heritage 2010

Scientific American Article September 1999

The Chöömij of Mongolia A Spectral Analysis of Overtone Singing by Ronald Walcott 1974

Original Research and Acoustical Analysis in connection with the Xöömij Style of Biphonic Singing

Tran Quang Hai and Denis Guillou, Paris 1980

A Two Voiced Song With No Words by Lauri Harvilahti circa 1981

Tuvin Folk Music by A. N. Aksenov, Tuvinskaia Narodnaia Muzyka (Moscow, 1964)

Analysis of Acoustical Features of Biphonic Singing Voices Male and Female Xöömij and Male Steppe Kargiraa

 By Takeda, Shoichi and Muraoka, Teruo

Why Do We Perceive Two Tones Simultaneously In Xoomij Mongolian Traditional Singing? By MasashiYamada

Synthesis of the laryngeal source of throat singing using a 2×2-mass model

Ken-Ichi Sakakibara, Hiroshi Imagawa, Seiji Niimi, Naotoshi Osaka

Physical Modelling of the vocal tract of a Sygyt singer by Chen-Gia Tsai

Perception of Overtone Singing by Chen-Gia Tsai

Kargyraa and meditation by Chen-Gia Tsai

Growl Voice in Ethnic and Pop Styles

Ken-Ichi Sakakibara, Leonardo Fuks, Hiroshi Imagawa, Niro Tayama 2004

False vocal fold surface waves during Sygyt singing: A hypothesis

Chen-Gia Tsai, Yio-Wha Shau, and Tzu-Yu Hsiao

False Vocal Fold Surface Waves During Sygyt Singing: a theoretical study by Chen-Gia Tsai

The Effect of the Hypopharyngeal and Supra-Glottic Shapes on The Singing Voice

Hiroshi Imagawa, Ken-Ichi Sakakibara, Niro Tayama, Seiji Niimi, 2003

The Laryngeal Flow model for Pressed-Type Singing Voices

Ken-Ichi Sakakibara, Hiroshi Imagawa, Seiji Niimi, Naotoshi Osaka 2006

Observation of Laryngeal Movements for Throat Singing. Vibrations of two pairs of folds in the human larynx

Ken-Ichi Sakakibara, Tomoko Konishi, Emi Zuiki Murano, Hiroshi Imagawa, Masanobu Kumada, Kazumasa Kondo, and Seiji Niimi
December 2002

Altai Khangai Ensemble info on Khöömii from the net

 Zulsar on Khöömii from the Net


Page one of some Mongolian CD’s Featuring khöömii with track listings and liner notes


Page two of some Mongolian CD’s Featuring khöömii with track listings and liner notes


Page three of Some Mongolian CD’s found on the net


An Incomplete List of recorded Mongolian khöömii singers

A to F                        G to R                      S to Z


Magic of Tone and the Art of Music by the late Dane Rhudyar
This is a very interesting extract about the Harmonic series from the now out of print book


Some Khöömii, Khoomei, Overtone Singing Links and Related Sites


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MICHAEL ORMISTON: Traditional Music of Mongolia / discography


Traditional music of Mongolia


I wrote this brief overview in 1994, it will be updated as and when I find the time If you would like to comment, make any corrections and add new insights, then please email me at  ormi_khöömii@yahoo.com


Also check out Carole Peggss excellent book (2001) Mongolian Music, Dance & Oral Narrative (University of Washington Press ISBN 0 295 98030 3) for a real in depth insight.


Vocal Music of Mongolia


Long Song (Urtyn Duu) Short Song (Bogino Duu)  Praise Songs (Magtaal) Epics (Tuul) & Legends (Domog) 

Khöömii Mongolian Overtone Singing, Amaar Limbedekh (imitation of flute with the voice)


Instrumental Music of Mongolia


Amaan Khuur (sometimes Khel Khuur, Khel means tongue) Jews harps

Tömör Khuur Khulsan Khuur (Bamboo Mouth Harp)



Morin Khuur (horse head fiddle)


Tobshuur (2 striing fretless plucked lute)


Limbe (transverse mirliton flute)


Tsuur (Three holed vertical end blown flute with vocal drone)


Yatag (half tube plucked zither with movable bridges)


Shudraga or Shanz (Three stringed fretless snakeskin lute)


Khuuchir and Dorvon Chikhtei Khuur (two and four stringed spiked fiddle)


Yochin (Hammered Dulcimer)


More instruments and picture updates to be continued….


Here is some information that I have found on the net.


              Mongolian Traditional Music adapted from Boris Avramets


             Traditional Songs and Dances of Mongolia by Ensemble Tumbash



             By D. Shandagdorji, P. Khorloo, N. Zantsannoro


             Mongolian Music by the ENSEMBLE EGSCHIGLEN


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Michael Ormiston has been composing, performing, teaching and writing about music for many years. He is a multi-instrumentalist and is currently involved as a solo performer, in a duo with Candida Valentino and a member of HyperyakIntervolution,Harmonic Voicings, Mysterious TremendumPraying for the RainThe Suns of Arqa ,VAMP,  music groups and part of Jem Finer’s Longplayer. His original compositions have been used on TV (BBC and Channel 4), Theatre (Theatre de Complicite), Dance, Anusha Subramanyam , Fabrice Mazliah (Ballet Frankfurt/Forsyth Company), Spiral Arts Danceand performance (London Jazz Festival). His throat singing has been used on Hollywood Films (The Golden CompassWe Were Soldiers), and TV (BBC’s acclaimed seriesPlanet Earth, Last of the Medicine Men). He has performed globally including for His Holiness, The Dalai Lama, The Venerable Choijampts, Head Abbot of Ganden Monastery,Ulaanbataar, Mongolia, United Nations Secretary General, Ban Ki-Moon and HRH the Duke of Edinburgh.  Michael is also a radio programme researcher, writer and presenter, a traditional music reviewer (Songlines magazine), a workshop leader, teacher and researcher in Mongolian music. He is one of the principal workshop leaders and performers for Eye-Music’s Colourscape.  And was awarded the colourscape Rawlinson commission for “Boundless Transformations” in cooperation with Candida and Eddy Sayer.   He it a Tutorfor, The British Academy of Sound Therapy and a member of the International Sound Healers Association


Michael specializes in Mongolian Khöömii (overtone) singing, being one of the only non-Mongolians able to sing Khöömii. He has been studying Khöömii since 1988, attending lectures by Dr Carole Pegg (Cambridge University), Tran Quang Hai(Muse de l’homme, Paris) and Dr Alan Dejaques (Lille University). He has travelled to Mongolia six times (1993/94/97/2000/05/6) where he studied Khöömii with Tserendavaa, Gereltsogt, Ganbold, Sengedorj, Tsogtbaatar, the “Cream” ofMongolia’s Khöömii singers. In 1994 Michael was given the blessing by Gereltsogt to teach the basic practices of Khöömii Singing. Since then he has given workshops, lectures and individual lessons worldwide and in the summer of 2002 Candida and Michael toured Europe with Tserendavaa who gave both of them his blessing to teach the basics of Mongolian Khöömii. In 2006 Michael was invited to perform in Mongolia with Mongolian throat singers as part of the 800th anniversary of the declaration of the Mongolian Empire.


Michael has facilitated Khöömii and Overtone singing workshops in the U.S and Europe including at the School of Oriental and African Studies (SOAS), London, Greenwich University, London, The Giving Voice Festival (Wales & Poland), Gaunts House, Dorset, The New Life Centre, New York, Ballet Frankfurt, Germany, The Centre of Intercultural Harmony, Ascona, Switzerland, Trinity College Dublin with the Temenos Project, Alternatives, St James Church, London, The Eden Project, Cornwall, England


For the past fifteen years Michael has led workshops, evenings and therapy sessions in Relaxation, Meditation and Deep Listening using Tibetan Singing Bowls, ever since Khamba Lam Choijampts, the head Abbot of Ganden Monastery, Ulaanbaatar, Mongolia heard Michael playing them.


Michael has recorded many acclaimed CD’s please click for more information Or visit myspace pages




To see some videos please click on the titles below

Michael with Tserendavaa and Harmonic Voicings Live in Turin

Interview with Michael, performance at Alternatives, London UK

The Money King, Windsor Castle, UK,

The Hindu dance of Creation, Windsor, UK

  Goat Picnic, Chandman Sum, Khovd, Mongolia 1994

Colourscape, London, UK

 Info about sacred music series where Michael’ Tibetan Bowls playing is featured

Extract of the programme with Michael playing the Bowls

Info about Michael’s Appearance on BBC Radio 3, The Choir, Buddhist Chant

“Child Sex Trade That Michael Composed the music for. Youtube of The harrowing Channel 4 Cutting Edge Programme

Images of Michael working in Colourscape with special needs children


Michael has a rare collection of Mongolian instruments including the Morin KhuurTobshuurTömör KhuurKhulsan KhuurLimbeYatagTsuur. Among the other instruments he plays are, Tibetan Singing Bowls, Symphonic Gongs, Saz (Turkish long necked lute), Flat backed Bouzouki, Ney (Turkish end blown flute), Jew’s harps, Live electronics……


Michael wrote, researched and presented, “Echoes from Blue Heaven”, a series of 4 programmes about Mongolian Traditional music for BBC Radio3 and “The Whispering of the Stars”, the first major series (6 part) of radio programmes about Siberian Music for BBC Radio3.


In the field of Dance, Michael has worked in collaboration with the Fabrice Mazliah from Ballet Frankfurt, Anusha Subramanyam of Beeja dance Company, Spiral Art Dance Theatre, Strata performance group.


Michael and Candida Valentino have created hands on tailor made educational days for all ages exploring the culture ofMongolia.


He jointly composed the theme tune and original music for Benedict Allen’s six part series on BBC 2 about Mongolia,“Edge of Blue Heaven” and his series about Shamanism and traditional healing, “The last of the Medicine Men”. He composed the original music for the award winning Channel 4 Cutting edge programme “The Child sex Trade” and “Women in Islam” Channels Dispatches programme, Forbidden Iran and Iraq, the Road to Kirkuk.


He organised & performed his musical group, Nada a tour of Mongolia in 1994. This was the first British group to tour the provinces of Mongolia.


Michael has performed with his rare collection of Mongolian instruments, Tibetan Singing Bowls, gongs, flutes and electronics around the world including at the Montreux Jazz festival (Switzerland), The National Theatre (London), The Queen Elizabeth Hall (London), with members of Ballet Frankfurt (Germany), The Eden Project (Cornwall) and Glastonbury International Dance Festival with Spiral Arts Dance Theatre, Belfast (Northern Ireland) for H.H. The Dalai Lama, and in New York, Sri Lanka, Spain and Algeria,


For more information about Mongolian overtone singing workshops, individual lessons, performances, Tibetan Singing bowl workshops, soundtransformations workshops, concert booking, education days please contact Michael atmailto:ormi_khoomii@yahoo.com


Please click here to go back to Soundtransformations main page


Just One More Breath (Full Length) – Jill Purce, UK


Published on Dec 15, 2012
Jill Purce overtone chanting in her 1984 art film “Just One More Breath”. With each single extended breath the viewer soars higher up the medieval tower. Through the windows, day gradually turns to night. Finally, we alight at the summit as perfect darkness is reached. Made by Jill for an exhibition with Marina Abramovic, Ulay, and Lawrence Weiner, at the art festival “Forum en Scene” in Middleburg, Holland.

Musician, artist and pioneer of voice, family and ancestral healing, Jill is a former fellow of Kings College, London, General Editor of the Thames and Hudson “Art and Imagination” series, and author of “The Mystic Spiral, Journey of the Soul”. For more information on Jill Purce and her “Healing Voice” and “Healing the Family and Ancestors” workshops, visit http://www.healingvoice.com