Throat Singing
Throat singing is a vocal technique found across many cultures and regions, known for its deep, resonant sound and the ability to produce more than one tone at the same time. It relies on four main techniques that work together to create its unique sound. The first is the drone, which is a steady low-pitched vibration produced by the vocal cords that acts as the foundation of the sound. The second is overtone isolation, where the singer subtly adjusts the tongue position, lip shape, and throat tension to bring out higher tones, or harmonics, that naturally exist within the drone. The third element is breath control, where the singer maintains steady, relaxed airflow supported by the diaphragm to keep the sound continuous and stable. Finally, there is resonance manipulation, where the movement of the tongue, lips, and jaw changes the shape of the mouth and throat to emphasize certain overtones and create melodies within the sound. Together, these techniques allow a single voice to produce a complex, layered tone that sounds almost like more than one instrument playing at once.
Throat singing holds clear cultural and symbolic significance across Inner Asia and the northern regions of the world. The presence of throat signing in Tuva, Mongolia, the Altai mountain regions, and among Indigenous communities in Japan, Canada, and Greenland, suggests continuity among peoples in these regions, even if ancient.
Here are some documented cultural & regional forms of throat singing I have found (note: there are very likely lesser-known or undocumented forms not listed below):
Tuva (southern Siberia, Russia)
Name: Khoomei (Хөөмей)
Notes: The most well-known form of throat singing for reasons associated with geography, culture, UNESCO recognition, among other reasons. Includes substyles like Sygyt (whistle-like), Kargyraa (deep growl), and Ezengileer (galloping rhythm). Deeply tied to animist beliefs and nature. https://www.alashensemble.com/about_tts.htmMongolia
Name: Khöömii (Хөөмий)
Notes: Similar to Tuvan styles, often performed with instruments like the morin khuur (horsehead fiddle). Recognized by UNESCO. https://ich.unesco.org/en/RL/mongolian-art-of-singing-khoomei-00210Altai Republic (Russia)
Name: Kai / Kaichy
Notes: A regional variant closely related to Tuvan khoomei, practiced by herders and storytellers to mimic natural sounds.Sakha (Yakutia, Siberia, Russia)
Name: Khomus Singing
Notes: Sometimes blended with the jaw harp (khomus), mixing vocal overtones with instrumental resonance.Tibet
Name: Gyuke (གྱུགས་)
Notes: Used in Buddhist ritual and chant, especially in Gyuto and Gyume monasteries, producing deep harmonic ringing chants.Inuit (Canada, Alaska, Greenland)
Name: Katajjaq / Piqqusirarluk / Nipaquhiit
Notes: A vocal “game” between two women, creating rhythmic, guttural patterns. It’s both entertainment and a test of breath control and stamina.Chukchi (Chukotka in Russian Far East)
Name: Ungui
Notes: Less documented. Usually tied to storytelling, mimicry of nature, and shamanic rituals. Throat singing among Chukchi women is known in Chukotka.Ainu (Japan, Hokkaido)
Name: Rekuhkara
Notes: An old practice in which one person sings into another’s mouth to create resonance. Very similar in feel to Inuit katajjaq.Xhosa (South Africa)
Name: Umngqokolo
Notes: Women use a low guttural growl in song, producing harmonic overtones. A unique African take on overtone singing.Sardinia (Italy)
Name: Canto a tenore
Notes: A traditional male polyphonic style with a strong drone and multiple harmonics. It is culturally distinct but structurally shares overtone techniques.Tibet–Mongolia Buddhist Tradition (ritual chanting / overtone chanting)
Name: Overtone Chanting
Notes: Monks produce harmonic overtones in chant as part of meditative and ritual practice, symbolizing cosmic vibrations.
Additional Sources:
https://pmc.ncbi.nlm.nih.gov/articles/PMC7064340/
Image:
Bady-Dorzhu Ondar playing the doshpuluur in Tuva (photo by Wada Fumiko, 2019) https://www.alashensemble.com/about_tts.htm
