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STUART HINDS : biography, website



stuart hinds portrait

stuart hinds


“A melody is sung, out of which overtones rise, forming another melody which soars way above the fundamental melody, seemingly completely separated from it.”

Stuart Hinds’ amazing ability to create two discrete melodies at the same time makes him unique among overtone singers. His original compositions are a “harmonious blend of Eastern and Western, ancient and modern, sensuous and cerebral” – music that appeals to a wide range of tastes.

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Overtone Singing

harmonx – re: overtone singing

Every musical note is actually a composite sound consisting of a fundamental, which is the pitch we perceive, plus a number of additional pure sounds called harmonics or overtones. These overtones are not normally heard individually, but the greater or lesser prominence of some of the overtones over the others determines the timbre or tone color of the note. The overtones make the sound of each voice or instrument unique and identifiable, and allow us to distinguish the sounds of the various musical instruments and also to recognize voices.

Overtone singing refers to techniques which allow a singer to isolate particular partials of the natural harmonic series of a sung fundamental pitch. By modulating the shape of the vocal tract, two or more pitches can be produced simultaneously, a fundamental and one or more of its natural harmonics.

Stuart Hinds is developing a unique style of overtone singing which is truly contrapuntal. That is, he sings in two equal “voices” simultaneously – the fundamental voice and the overtone voice. Both voices move independently in the same way they would if performed by two separate musicians. In one of his works, Renaissance Man, Hinds actually sings in strict canon with himself! – the overtone voice following the fundamental voice at four beats separation and transposed up a fifth.





We are a group of Mongolian folk musicians with the objective of bringing Traditional Mongolian music to the world. We are inspired by our nomadic ancestry and by our historic civilization. In addition to the traditional instruments of our group, we also incorporate the breath taking throat singing of our forefathers. We hope you can feel the passion and pride in our music as strongly as we do.

We are KHUSUGTUN….conveyors of the Mongolian nomadic culture.




Head, horse-head fiddle, throat singer, guitarist, composer 

Born in 1976 in Ulaanbaatar city

1989-1996 College of Music and Dance as Musician




Horse-head fiddle player, throat singer

Born in 1977 in Galuut soum, Bayankhongor province

1985-1995 The 10-Years’ Secondary School of Bayankhongor province,

1995-2000 Horse-head fiddle class of the Institute of Culture, Ulaanbaatar city graduated as Teacher of music and Musician.



Zither player

Born in 1985 in Bulgan soum, Khovd province

1993-1996 The 10-Years Secondary School of Bulgan soum, Khovd province,

1997-2003 College of Music and Dance as Musician,

2003-2007 University of Culture and Art, Faculty of zither as Solo, Teacher.

Since 2008 worked as a Solo Musician at the Mongolian National Song and Dance Academic Ensemble and in 2009 has taken part to establish the “KHUSUGTUN” Group under the named Ensemble where have been working as a solo musician continuously till today and at the same time since 2010 has been working as a teacher of zither at the University of Culture and Art.



Horse-head fiddle player, throat singer

Born in 1989 in Ulaanbaatar city

1996-2009 Graduated as a Solo Musician from the College of Music and Dance.



Cellist, tovshuur (lute player) and throat singer

Born in 1989 in Ulaanbaatar city

1997-2007 Graduated as a Musician of cello from the College of Music and Dance.



Fifer, throat singer and percussion musician

Born in 1981 in Ulaanbaatar city

1988-2000 graduated the folk flute class of the College of Music and Dance, specialized as musician,

2001-2005 Art critic and teacher of the National University of Mongolia.

ROLLIN RACHELE ‘s WEBSITE : www.overtonesinging.com

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Welcome to the home of Rollin Rachele’s overtone singing work. Here you will find plenty of information about the art, the science and the power of overtone singing. 

Through the site you can access details about workshops, books, articles, CDs and concerts. 

There is also an easy online Web Store through which you can purchase products and make bookings for workshops and concerts. 

Email Link

Kickstarter Campaign

I am really excited to announce my new Kickstarter campaign to fund the production of the second volume of the Overtone Singing Study Guide, Vol. 2

There are great rewards available in return for you support, so please check out the link to the campaign here.

You can also see my campaign film on this page.


Thanks for your support and please share this page!

Overtone Singing Study Guide

Rollin is pleased to announce that his new ediition of the Overtone Singing Study Guide Volume 1 has just been published by Abundant Sun. The new edition includes a lot of new material and a complimentary DVD as part of the study materials.

The Overtone Singing Study Guide Volume 1 presents a healthy and balanced approach to learning the art of overtone singing. Rollin’s use of audio-visual aids, staff notation, and even Indian Classical notation, provides a rich and stimulating platform for the complete beginner and the advanced practitioner.

The book is now available in the webstore here.


Music Downloads

We are really excited that all Rollin’s albums are now availble to buyand download via the webstore!

For more information and to make a purchase, visit the webstore now!



To book tickets for any of these events, please visit our webstore.


Singing Lessons Online

Interested in learning Overtone Singing? Rollin now runs lessons online via Skype! To make a booking please visit our webstore.

Skype Me™!

Concerts and Workshops

Thursday 21 November, AMSTERDAM, Mediamatic/Fabriek – Echokamer, 20:30, Superstringtrio

(Rollin Rachele, Mark van Tongeren) and Daphne van Tongeren (light/performance).
Echokamer is a series of events during which composers, musicians and other sound-makers experiment with sound at, and with the sound of, Mediamatic Fabriek. The giant industrial hall reverberates and erodes, and produces quite a bit of sound all by itself. The perfect place for noisy experiments. Read more details about Superstringtrio’s sonic excursion next Thursday here.


Sunday 24 November, KRAKOW (Poland), Audio Art Festival/Bunkier Sztuki, 19 o’clock, Superstringtrio.

We have been invited by Marek Choloniewski, founder of Audio Art Festival, one of the most long-standing festivals dedicated to Sound Art in all its beautiful, radical and weird manifestations, to join the ranks of many artists who have performed there in past decades. Superstringtrio will present an updated version of its performance Incognito Ergo Sum, premiered in Amsterdam earlier this year at the occasion of the PhD-defense of Mark van Tongeren’s Thresholds of the Audible- thesis at Leiden University. See a short clips of it on Vimeo. For the full program of the festival, which has already started yesterday and continues next week, check this link.
(with our thanks to Horst Rickels, who gives a workshop and concert in Krakow tomorrow with his Lesley-speakersystem, together with Robert Pravda).





Home About Alash events Alash CDs Alash in Media About Tuvan Throat Singing Tuvan Instruments Photo Gallery Contact Links
Alash - My Throat
Alash in Boston, 2013

Learn about Tuvan Throat Singing and Instruments

Bottom row of images

Alash are masters of Tuvan throat singing, a remarkable technique for singing multiple pitches at the same time. Masters of traditional Tuvan instruments as well as the art of throat singing, Alash are deeply committed to traditional Tuvan music and culture. At the same time, they are fans of western music. Believing that traditional music must constantly evolve, the musicians subtly infuse their songs with western elements, creating their own unique style that is fresh and new, yet true to their Tuvan musical heritage.

What does throat singing sound like? “Imagine a human bagpipe-a person who could sing a sustained low note while humming an eerie, whistle-like melody. For good measure, toss in a thrumming rhythm similar to that of a jaw harp, but produced vocally-by the same person, at the same time.” -Newsweek (March 17, 2006)

Where is Tuva? Tuva (sometimes spelled Tyva) sits at the southern edge of Siberia, with Mongolia to its south. Over the centuries, Tuva has been part of Chinese and Mongolian empires, and shares many cultural ties with Mongolia. In 1944 it became part of the USSR, and until the late physicist Richard Feynman drew attention to it, was largely unknown to westerners. Tuva is now a member of the Russian Federation.

Maps: Regional
Bing maps
Alash on MySpace
Time & Weather in Kyzyl, Tuva
Alash’s U.S. tours are sponsored by Juniper Green, LLC

Demonstrations of Tuvan throat singing and Tuvan Instruments:

English   Русский   Deutsch   Français   Türkçe   Polski   العربية   עברית



Tuvan Throat Singing
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Mai-ool Sedip demonstrates xöömei Kongar-ool Ondar demonstrates sygyt Bady-Dorzhu Ondar demonstrates kargyraa Ayan-ool Sam demonstrates ezenggileer Ayan-Shirizhik demonstrates borbangnadyr

The tiny republic of Tuva is a giant when it comes to mastery of the human voice. Tuvan throat singers can produce two or three, sometimes even four pitches simultaneously. The effect has been compared to that of a bagpipe. The singer starts with a low drone. Then, by subtle manipulations of his vocal tract and keen listening, he breaks up the sound, amplifying one or more overtones enough so that they can be heard as additional pitches while the drone continues at a lower volume. Despite what the term might suggest, throat singing does not strain the singer’s throat.

The ancient tradition of throat singing (xöömei in Tuvan) developed among the nomadic herdsmen of Central Asia (map  Bing maps), people who lived in yurts, rode horses, raised yaks, sheep and camels, and had a close spiritual relationship with nature. Throat singing traditionally was done outdoors, and only recently was brought into the concert hall. Singers use their voices to mimic and interact with the sounds of the natural world — whistling birds, bubbling streams, blowing wind, or the deep growl of a camel. Throat singing is most commonly done by men. Although custom and superstition have discouraged women from throat singing, recently this taboo is breaking down, and there are now excellent female throat singers too.

A unique concept of sound. The Tuvan way of making music is based on appreciation of complex sounds with multiple layers or textures. To the Tuvan ear, a perfectly pure tone is not as interesting as a sound which contains hums, buzzes, or extra pitches that coexist with the main note being sung. Tuvan instruments are designed and played to produce such multi-textured sounds as well.

Style/Play/Sounds Like/Demonstrated By

Sygyt, Sigit

xoomei, khoomei, hoomei

kargyraa, kargiraa

Borbangnadyr, borbannadir

Ezenggileer, ezengileer

NOTE: The term xöömei refers to a particular style but also to throat singing in general. It is sometimes spelled khoomei,hoomei, or choomeij.

What are overtones? When a string or a column of air vibrates to produce sound, the pitch that we hear is determined by the length of the string or air column and how fast it vibrates (its frequency). But the pattern of vibration is not simple. The entire length of the string or air column, vibrating as a single segment, produces what we call the fundamental frequency. This frequency is clearly audible and gives the tone its pitch. But at the same time, smaller segments (halves, thirds, fourths, etc.) of the string or air column are vibrating faster than the fundamental frequency. The smaller the segment, the faster it vibrates. For example, each half of a string will vibrate twice as fast as the entire string, and each third of the string will vibrate three times as fast as the entire string. We rarely hear these higher frequencies as distinct pitches because they have less power than the fundamental frequency. But in combination, these smaller vibrations determine the timbre or quality of the sound. The pitches associated with these higher frequencies are called overtones, harmonics, or partials. This diagram shows how the frequencies of successively smaller segments of a string relate to the pitches of the overtone series:

Harmonic partials

First sixteen pitches of the overtone series (harmonic series) for C


How to Listen. The overtones heard most prominently in Tuvan throat singing are indicated in black on the musical staff. These are the high fluty whistles that often form a little melody floating above the drone. (Notice they form a pentatonic scale.) Try listening for the more subtle overtones in the range of 2 through 5 in the series. While the western listener may want to identify which overtones become distinctly audible, the Tuvan listener enjoys the entire array of pitches, hums and buzzes as aspects of one sound, like facets of a diamond. To listen in this way, a newcomer to throat singing is advised to listen to the low drone, then bring the middle into focus, then hear the entire surrounding sound.

Body-Dorzhu Ondar playing an igilCowboys of the East. In Tuvan songs, the complex textures of xöömei often alternate with a simpler melodic use of the voice. Just as western cowboys play guitar or banjo, Tuvan cowboys often accompany themselves with stringed instruments, either plucked or bowed. Many songs are performed to the rhythms of horses trotting or cantering across the open land, and instruments often are decorated with carved horses’ heads.

Throat singing reaches the West. For most of the 20th century, Tuva was isolated from the rest of the world by its remote location (map) and Soviet-era travel restrictions. That began to change in the 1980s, when the Nobel Laureate physicist Richard Feynman and his friend Ralph Leighton set out on a quest to visit Tuva, a country which for years was known to the West only for its unusualtriangular stamps. Feynman and Leighton became early fans of throat-singing and brought it to the attention of Europeans and Americans. American ethnomusicologist Ted Levin travelled to Tuva in the late 1980s and brought the group Huun-Huur-Tu to the United States. Throat singing gained a wider western audience with the release of the Academy Award nominated film, Genghis Blues. The film documents the musical journey of the blind American bluesman Paul Pena, who heard Tuvan throat-singing on a short-wave Russian broadcast, taught himself to throat-sing, and traveled to Tuva to take part in a music festival.

Today Tuvan musical groups such as Huun-Huur-TuAlashChirgilchin, and Tyva Kyzy regularly tour in Europe and the U.S. as well as throughout Russia. Music festivals and throat-singing competitions draw hundreds of international musicians and fans to Tuva each summer. Tuvan musicians, scholars, and organizations such as universities and the Tuvan Humanities Institute are working to preserve the country’s unique musical heritage and to encourage young singers to keep it alive.

Suggested Reading

Where Rivers and Mountains Sing: Sound, Music, and Nomadism in Tuva and Beyond, by Theodore Levin with Valentina Suzukei (Indiana University Press, 2006) is a readable and thorough account of Tuvan music and culture. Includes CD/DVD.

Tuva or Bust! by Ralph Leighton (W.W. Norton & Co., 2000) is an entertaining account of physicist Richard Feynman’s quest to travel to Tuva.