Complete Throat Singing Course

1. Introduction; About myself: Hello, everyone. So my name is Rowan Hartzoger and I live together with my wife and sons in the Netherlands. We live in a farm built in 1,900 in the countryside of Kroning where we do our very best sharing the amazing and beautiful culture of Mongolia with people. And I've been fascinated by the world of throat singing already since 2006. So I was around 16 or sfteen years old back then. And, I mean, I can't believe it's been so long already. Oh here, i. So people often ask me, why didn't you do this course years before already? So, honestly, I didn't feel comfortable enough. So I am obviously a foreigner teaching a foreign culture. So this is not a culture that I was born in. So this is always kind of a tricky subject because we live in a world where people constantly say, that's cultural appropriation. It's not your culture, it's not your place to teach about this culture or music. And I disagree and agree sometimes because I think it's really important to acknowledge people that really do their best that are born within this culture and also try to share their work and their art. So I really do acknowledge that. In the past years, I've made so many amazing friends in Mongolia and surrounding regions. And every now and then, I always ask, What do you think about me creating an online course to teach throat singing? Luckily, lots and lots of people, they said, Yes, why not? I mean, you've been kind of in this world of tour singing for so long now. And sometimes people, they actually say, Well, you became like a Mongolian. Well, obviously, I'm still Dutch, 100% Dutch, but I'm definitely part Mongolia in the way I create my music and the way I share my experiences and skills with people that I've learned in Mongolia and from Mongolians. So I'm really happy to finally feel comfortable enough, knowing that people also support me in creating and sharing this course. So here I am, and here we are. I'm really hoping that this course will inspire you as much as Tro singing has inspired me in my life. 2. About the Course: Throat singing, yeah, it speaks to many people. So many people love it. So others hate it, and others, again, they are not sure what exactly is trotting. Is it just random sounds we create or what exactly is it? But in the setting, it is a beautiful type of music. Whether it's a soloist using throat singing and accompanying himself on instrument or whether it's like a bigger ensemble with different types of instruments and multiple trod singers singing together. It is really amazing. So after over train the years, I'm still extremely fascinated by it. I've always loved it. And actually, my love for Trosing is only growing. Even after so many years, I still get extremely inspired by it because it's so different yet it feels so natural. But it's not just random sounds we create. There's, much more to it. Of course, we have these crazy sounds we learned to create using our mouth and focal cords and other parts of our body. But one of the main things that I always say to people when I teach throat singing is thro singing isn't just true singing, it's part of an amazing culture. So Tro singing couldn't be just true singing without this unique and beautiful culture and tradition surrounding it. So in this course, I'm mostly going to refer to either Mongolian Tro sing or Tuvan trosinging because those are the two countries that really have perfected throat singing as a musical art. And of course, there's more countries in Central Asia using throat singing. But just from my point of view, Tuvan and Mongolian throat singing, they are closest to me. Tuvan throwing really inspired me in my early years of learning throat singing. So some of these masters, they really, really inspired me. But from my point of view, I'm mostly going to refer to Mongolian throat singing. Because I've just been there so many times. I have so many Mongolian friends, just people or throw singers or musicians. So because of that, my daily life is always connected to Mongolia specifically, and not a small detail. My wife is Mongolian, too. So because of that, my life is, like, partially Mongolian in a lot of ways. So also in this course, I'll be referring to Mongolian trod singing specifically. But I also mentioned a lot of Tuvan throw singing related techniques or information. So that's important to know because one thing that is kind of frustrating for a lot of either Mongolian or Tuvian trod singers is that trod singing sometimes is referred to as Mongolian trod singing. Just as a general term. And that's not correct. So please know there's lots of different cultures using throw singing. So a throat singer from Tuba is not singing Mongolian throat singing, or a throw singer from Altai is not singing Mongolian throat singing. They are just simply throat singing. So the type of throw singing is depends on where the person is from, of course, but also the type of techniques or the style he is singing. And, of course, the songs they are playing because these songs and these people from Tuba, Al Tai, or Mongolia, they sing their own language. They have their own culture. So, of course, there's differences entro singing techniques. So to always be safe, I would say refer to throw singing as throat singing or a more general term Hume. Then you're safe not to start a painful conversation. So I've seen some painful things like TubanTro singers being announced as Mongolian throw singers. And that's just painful for them because Tuvans they are not Mongolians, and Mongolians are not Tuvans, even though, of course, the regions are connected by history, but it's really important to acknowledge Mongolian throw singers singing Mongolian throw singer singing. Tuvan throw singers singing Tuvan throw singing. And of course, this is blurry every now and then because Mongolian throw singers can also sing Tuvan songs and the other way around. Long story short. In my course, I'm mostly going to refer to Mongolian throat singing techniques and names or terms in Mongolian, but I also think it's important to sometimes mention Tuvan related terms or information. So it sounds a little bit complex, maybe, but don't worry. I'll go through it step by step, and you'll get familiar with all of the names and techniques in no time. 3. What is Throat Singing?: So what exactly is throat singing? So, I always say that throat singing is a little bit of a stupid word in a way because it isn't any singing throat singing. We all sing from this area. So yeah, in a way, any singing is throat singing. But of course, I also understand the reason why it's called throat singing because, yeah, it has this throty sound and the deeper sounds. So to not start another difficult subject in changing this word, another term or creating another term for throat singing, let's just refer to it as throat singing because, I mean, everyone knows what throat singing is referring to by now, of course. But it's important to know that throat singing isn't just one technique. We are not just throat singing. So throat sing is actually referring to a collection of different singing techniques. So, in my opinion, and many singers have different opinions about this. So, I mean, because focal art is so it's so advanced. You can do so many things with your voice and some other people, they create their own techniques or own effects, or own styles. And sometimes people refer to a style or a specific technique as a separate technique on its own. It can be really complex and super detailed. For this course, I categorized throat singing into three different techniques. So the first technique we refer to as haha hum or simply Hume. So this is the basis of the basis of throat singing. It's really important to start with this throat singing technique because it will support all or at least most of the throat singing techniques. So basically ha ha Hume or Hume. This technique makes that really throaty sound. Oh oh. This is like this constriction that's happening in your throat with support from your abdomen to create a really powerful voice. The second technique is haga Hume or carga. And this is that deep, deep, deep voice that many people know that really cool, deep sound. And on top of these two techniques, we can apply technique of overtone singing, where we use our tongue to create these whistle like sound overtones, and we can create and sing melodies on top of those two techniques using the basic principles of overtone singing. Then besides just the throat singing techniques, throat singing is much more because throu singing is of course, it's like a focal art, but it's also musical genre on its own, and even the music can be divided into various different types of music. So in Mongolia, we have, for example, a very important type of music which we call matar. And this is translated to praise or praising or complimenting so these type of songs are always about the beauty of nature of the beautiful the beauty of animals. And they sing like this praising type of song towards, for example, a very important mountain or important historical figure. And this is one of the most important types of music in Mongolia. Next to that, we also have something that we call to or jangar and this can be translated to um, uh, epic tales or epic stories or epics. And these are stories that can be about historical figures or even about fairy tales or mystical or mythical animals or persons or events, things like that, and they can last a long, long time. They can last several hours or several days. And especially ngranTT genre of music in Mongolia has a very rich history. And also in the development of the Mongolian language, this type of music has been very important. And you hear throat singing in this genre as well. Then, apart from these really traditional types of music, we also have I could say almost like millions of songs, folk songs in Mongolia. It's really crazy. It's almost impossible to hear them all in one life. It's really that many. And these folk songs in Mongolia, they are really beautiful. They are about love, about family, about nature, about horses, about animals, about anything. They can be about anything. And the interesting thing, all different tribes in Mongolia, they can have their own type of folk songs. And the cool thing, lots of these folk songs we can use to sing with throat singing, and some just work perfectly with throat singing. Even though some of these songs are not actual throat singing songs, but still they work really well with throat singing. And one of the reasons is because Mongolia and surrounding regions, of course, they are traditional nomads. So they nature, the surrounding nature is really important part of their life, important part of their culture and traditions. And you can really hear that in their music. And the same with throat singing. So for some people, it sounds unnatural or a little bit weird in the beginning. But once you get used to it, the weirdness fades away and then you realize troting is actually really natural natural way of singing, and it really connects to your body and your surrounding environment, especially in the middle of nature, of course. Throat singing is said to be created or evolved by just sitting in nature and imitating sounds of nature, like the flowing river or the whistling wind or following the shapes of the mountain on the horizon, like reading almost the shape of the mountain as like a melody line or imitating echoes or animal sounds, birds or cows or sheep. You can really hear these natural elements in throat singing. So because of that, and combining it with all these beautiful songs, whether really traditional or more modern or more recently composed, it just fits really well. That's the amazing thing about Tro sing. I just it's so easy to use in lots of different types of music, even just improvising. Tro sing is really, really fun to improvise with and that's also one of the cool things about troting. You can sing anywhere, and it's like instrument that you always carry with you. You don't have to carry a heavy guitar or boat instrument. You can just sing anywhere. And because trotting is different techniques, you can use all of these different techniques, and it will sound like almost like different types of instruments inside of your body, which is really cool. And that's something we're going to focus on in this course. 4. Is this the best Throat Singing Course?: So is this the best throw singing course out there? I mean, of course, it is. Seriously, though, there are quite a lot throw singing courses or lessons on YouTube you can find. And they're mostly created by foreigners like me. However, the painful thing that I see often is that techniques that are explained or teached, they are not authentic throat singing techniques and often more have a vibe or feeling or sound that just feel too Western and not simply put just not authentic enough. So that's really my goal in this course to really find that authenticity of throat singing. It's not easy. Learning throat singing is not easy. You can get results quite fast. If you really put effort in it, you can get your first results quite fast. However, learning throat singing is not just creating sounds. That's only one part of throat singing. And that's one element I really lack in other lessons on YouTube or other courses that I've seen. This connection with the culture surrounding throat singing, whether Tuvan or Mongolian or Altian or Carcasian throw singing, like I said before, is not just throw singing. It's part of a very amazing and rich culture and traditions. And without that, Troting is not complete. So I really hope to both teach you about throat singing techniques, but also find this connection with the culture surrounding it. I think that's equally important, and that's something I always really try to bring across to people. And like I said before, I spent a lot of time with throat singers from Mongolia and Tuva. So I'm quite familiar with throat singing by now, I would say, but like I said before, only now after so many years, I finally feel comfortable enough to openly speak about it in this course and to teach people about my experiences and what I've learned. So in the next video, we're also going to listen to some of the real masters that really inspired me because I think that's really important. I couldn't have been throat singing the way I do without being inspired by some of those big masters. So I think it's really important to first, of course, be interested in throad singing. But then I hope you get inspired to learn more about the culture surrounding it. And by doing so, I hope you also get inspired by listening to some of the real masters from Mongolia or Tuba or surrounding regions because I I couldn't feel as comfortable creating this course without that part. So besides that, this course is guided towards beginners or people already who already started with throw sing and want to learn more. Actually, any level of throat singers are very welcome, whether you have musical experience or singing experience or none at all. Everyone is welcome here, and I really hope this course inspires you the way this music has inspired me in my life. And by the way, if you have any feedback about anything you heard or saw in this course, please write me because I think I'm pretty chill guy, and I can take feedback or IDs I mean, I think it's even very important to get feedback from all of you guys because even I am learning, after so many years, even I'm still learning, and I get good help from people sometimes. When I teach someone throat singing, I constantly learn new things as well because someone is trying this or this, and then I think, Okay, yeah, this is maybe also interesting to try on my own. So if you see something where you have questions about as well, just write me. I'm really open, and I'm always super excited to connect with people who have a shared passion for throw singing. 5. Important terms I'll use: Before we're going to start with the actual course and the actual exercises, there are a few terms you need to know. I don't think there's any complex terms that I use. I also try to avoid them because I'm not a native English speaker. So please bear with me if I use words wrongly or my sentences are not perfect, I know, I know. If there's really some wrong information that you think is really wrong, please just write me and I'll try to fix that. Um, I mean, I'm trying my best here. I'm trying to avoid too complex or anatomical words or references or too deep into musical theory. I really try to avoid that to really welcome everyone of every skill level. But there are a few terms that I'm going to explain. I mean, this is not something you talk about every day, you know, things in your throat or your mouth or just throat singing in general. It's not like you're talking about that a lot. So there might be a few words that you maybe have heard of or don't know exactly, but let me explain a few. So of course, I'll be referring to the lips, mouth, and jaw in general. I mean, those don't need any further explanation, I think. We all know those. But one thing is the upper palate. That's basically the roof of our mouth, which you can feel with your tongue. And it exists of two parts. So we have a front part, which is the heart palette, and then the back part, which is the soft palate. And you can feel that with your tongue, where you go all the way back, you can feel it's soft. And all the way at the back of the soft palate, you can feel there's something there. It's called the Uvuda. And basically, that can open and close the nasal cavity. And the nasal cavity is basically the space here. And you can try that on your own when you say, for example, sing. So sing. Then suddenly this sound comes from your nose. So with certain words, we sometimes use our nasal cavity. So when I say throat singing, ing, ing ing ing, this is caused by the U vuda and this is the nasal cavity that we use. And then we also talk a lot about pitch, and pitch is especially important in throat singing or overtone sing because we use our voice a little bit differently. We generally stay on one pitch. Even when we sing melodies, we always stay on one pitch. We use overtones to create melodies on top of that pitch. So pitch is really important. What is pitch? Pitch is basically how low or high our voice sounds. So, this is pitch. And basically, that's it already. Nothing too complex, but just a few upfront notes to keep in mind. And if there's anything that I might have missed, I'll, of course, explain those in specific videos as well. 6. Cautionary Notes: Learning throw singing is a process. So don't expect to be a throw singer in a few days. Even though sometimes people really get excited when they get some quick results, still, it's a process that you need to be thoughtful about because we are using our voice in a totally different way. We are exploring different parts of our body and muscles that you maybe haven't even used before or at least didn't train enough to be as strong as they will become after enough practice. Learning through singing is a process. So it takes time. Don't expect to be a throat singer within a few days, even though many people, they get really excited when they get their first results. And I understand I was exactly the same. When I got my first results, I got so excited. I'm on to sing more, more and more. But throat singing is in a way, really different from normal singing. We use different parts of our throat and body in general. So you're really trying different things, you're experimenting. And this can result in a bit of pain or coughing or discomfort. So please be thoughtful about that. Take your time, take rest after each session that you practice. Don't push it too far. If it's painful, if you're really coughing too much, it means something is not good. Just take a rest and start again the next day. So with any exercise or any lesson that we're going to do, just take your time slowly. But steadily, just don't force yourself too much. Even though you get inspired or maybe super excited, take your time. It's really important because we are using specific muscles or tissues or parts of your body, all the way from here to here that you have maybe never used or at least haven't trained specifically, you're really discovering parts of your body, almost new parts of your body that you never thought about, you know? And this is basically like training for a sport. You need to do it step by step. You're training your muscles. And also with the throwing fois, in general, you build up strength step by step. Don't force too much in the beginning. Rather start slowly and build up step by step, then start from here, and then it gets more painful, almost have no voice or energy to finish the exercise. So it's better to start slow and build up rather than too much, and then you kind of feel too much pain or coughing or discomfort at the end of the lesson. So I don't want to discourage you at all. I just want to say, don't force yourself have patience. That's the most important thing. Have patience and anyone can learn throw singing with the right practice, with the right time, with the right mindset and with enough inspiration to really become better and better. Everyone can be a professional throw singer. I mean, everyone can be a troll singer. That's always what I say and people sometimes say, Ah, after two days, I still can't get the sound I need. But then I say, Don't worry. Take your time. Sometimes it takes weeks or months or years. You don't know. Some people have it in a few days. Some people will take weeks or months. In the end, you'll learn it. I'm positive about that. I've seen so many people learning throat singing of all ages, children, but also older people. And of course, every person has their own pace of learning something new. But in the end, don't worry. You will be a throat singer. 7. First, let's listen to these masters: So when I started to learn throat singing, and I think I mentioned it before already, the world of Internet was really different place. I mean, YouTube and Facebook just started. So there wasn't a lot available on the Internet back then. But there was one interesting place that still, I think was really important part of my throat singing history. And it was a forum created by Steve Sclau from the United States. And this was a throat singing forum where all of us throat singing fanatics collected and we could share our experiences or even our skills or progress of learning throat singing with all of these people. And still after so many years, I still have contact with some of these people, and that's really amazing. And Steve Scla also is a really important part of my throat singing life, I would say, because he actually studied with the thro singers of Hun tu from Tua. And this forum I can say was really important in my progress of learning throw singing. So I'm really thankful for him to have created that place to gather some throw singing enthusiasts. And I'm really happy that he created that forum back then. So also back then, Facebook, it was just starting. So especially Mongolians Tuvans they were not on Facebook at all. So it's really crazy that now on Facebook or Instagram, I can write some of my biggest inspirations from the early days directly on Facebook now, and they write me back. I mean, it's so funny and crazy that it changed so fast. But in those days, I spent lots and lots of hours just researching on Google, finding hidden gems, or throw singing albums or recordings. And there wasn't a lot, but still there was some, but it was just hidden very well. And I think I basically knew every corner of the Internet about throat singing back then. Right now, I can't even keep up with all of the throat singing being launched on sportiva, YouTube. So it's entirely different world. But enough talking, I made a short list, and this list can be extremely long because I have so many big inspirations of throat singers from Tuba, Alta, Mongolia. But I need to keep it a little bit short. So in this video, I'm going to show you some of my biggest inspirations because without them, I don't think I could have learned throw singing as well. And all of these throw singers, they really inspired me each in their own way, whether it's a specific technique that I really love from them or maybe just their music or five in general, or I met them personally and spent time with them. But I think showing these masters is a really important part to start up this course because you can really hear some of my biggest inspirations from back then. So yeah, I really hope they also inspire you in this beginning of my throw singing course to really master this amazing art of th first, Amar Tushin from the Mongolian folk group higlen. He's from Mongolia. I personally feel his style is really unique because it feels like a combination of Mongolian and Tuvan techniques combined into his own unique style, especially his lower technique always really fascinated me, and I really love that sound of his low haka sound. Lord. Then we have Ganserik from the group, Alta Hangi. He's also from Mongolia. Same as the previous singer, his style is a little bit unique, in my opinion, because again, it sounds like a perfect combination of Mongolian two hon throw singing makes into one really awesome ten. They live it life. Wow. And then we have Amir. He's from Al Tai. He also has been a really big inspiration for me, especially as a solo artist. His music just was so amazing and his techniques are so so well developed, and his sound is just so amazing. I like. And then we have Igor from the Tuvan folk group, ergo chin. Like I said, he's from Tua, and this must be even today one of the best throw singers out there. And fun fact, the first throw singing song that I ever heard was a song called Igor's solo, where he accompanies himself on an accordion. And that piece is just simply, simply amazing. Let's listen to it. So So let's see found. Then Hasso and his band, Trans Mongolia. They are from Mongolia. And these musicians are the first Mongolian musicians that I actually met back in my early days, and they lived in Germany back then. And the group on its own really inspired me greatly. I listened to their albums for months in a row. And host on his own. Actually, I traveled with him in Mongolia many times, and I stayed for half year with his family in the countryside. So I'm deeply grateful for him with all of the help and support he gave me. And besides that, his Mongolian technique is one of the best you'll ever hear. Good And then, of course, GenaiFTuba This throw singer from Tua is I also listen to his throw singing for weeks and weeks in a row. Amazing technique, just so refined and so perfect. The sound and style he created and the songs he's playing Really amazing. And then Eudopa from Toba. This guy is a unique character, for sure. But the thing with his voice is that he has created his own hara low type of throat singing. This style is still referred to as the EudopaHaga style. And this style also really inspired me to get this really crispy, awesome, cool sounding haga sound. Ho. Ho hag How to God. Amen. God. Good. And then Sarandowa and his son took girl. They are also from Mongolia, so they are a father and son. And like many Troy singers, you learn throw singing from your father. And this is the perfect example for that. So Cerdaas part of the generation of mostly most influential and most important throw singers. And he shared his throat singing all around the world. He's becoming quite old now, but his son, Tuck good old, is the current best generation of throw singers. And his technique is so extremely powerful and really amazing. And then I also want to mention this album called Jacquelin Alte and these are really amazing recordings because this album is a combination of field recordings, like in the middle of the nature, but also studio recordings, but they are quite old recordings. So they show the early development of Mongolian throat singing. This album specifically has inspired me deeply with learning throat singing with various different really respected t Con C So, that's it. This list can be much, much longer. Like, I mean, endless almost, but I tried to pick a few singers and things that I really wanted to highlight. And I hope they inspired you. But now enough talking. Let's start to sing. 8. Breathing & Warm Up: So, everyone, are you ready? Because we're going to start finally. So with any singing, also with throat singing, it's advised to just gently start and start with a bit of a warm up, a focal warm up. So I always say, you can either do this standing up or sitting down. I generally do it sitting down, either on a small stool or on a meditation cushion or pillow. It's whatever you prefer and whatever feels relaxed and comfortable for you. I'm sitting on a small stool right now. So whatever you decide standing up or sitting down, it's important to have a straight back. That's really important. That allows us to fill our lungs in full capacity and also allows us to expand our abdomen. Because that's really important, what we're going to do, we're going to start with some breathing exercises. So we're going to start with the breathing exercise. So again, straight back is really important. And while we inhale the air for about 5 seconds, what you feel is your belly or abdomen is expanding outwards. That's really important. Your shoulders should really be relaxed. You should avoid to have the breathing too high in your body. So try to avoid this. You can see your shoulders going up and down. That's not good. We really need these deep, long breaths. So when we exhale for about 5 seconds, your belly expands outwards. And then we exhale for about 5 seconds as well, and we make a sing S sound. So let's do it together. So inhale first. Again. So when you inhale, your belly expands outwards. When you exhale, you should already feel a little bit of pressure from your abdomen to really push out that air. Really, that's important. So avoid breathing too high in this area. Really focus on the abdomen part. One more time. Now we're going to repeat this exercise. What we can make a note. So we can sing a note with our voice. So again, inhale, and by exhaling, we just sing a note, whatever note, but maybe you can sing along with the pitch. I'm singing. So let's go. Again. So, watch my belly when I inhale. So by inhaling, again, expand outwards, by exhaling, push out that air using your belly or abdomen. So we can do this exercise also with humming. So, for example, with our mouth closed, so again, You can do that, as well. One other thing I also like is with more puffy cheeks. So here you get this ID nail. Or with focals. The thing with the puffy cheeks is you get this little bit of pressure here and you can really control that breath a little bit better. So these are just a few focal and breathing exercises that I do. So just inhale with a deep, long breath and exhale with a simple pitch to really get that voice going. O oh for women, of course, we can also do a higher piece. Oh. It doesn't matter what any pitch you're doing. Just get a little bit comfortable singing and starting up your voice. One interesting thing, one interesting note about this vocal warm up. As a trained throat singer, I actually use throat singing to warm up for throat singing, but just a gentle way of throat singing. So when I am going to perform, I'm doing a little bit of gentle or subtle throat singing exercises, like so. So just to get up to start up your voice, not too loud, just to get this nice warm up. So another way to warm up with throat singing, I use this exercise, for example. Also loosen up your tongue, like, also warm up for your tongue and your throat together. So I use that exercise a lot. And also for the lower technique, for example. Whoa, whoa, whoa, whoa, whoa, whoa, whoa. So just losing up everything, tongue, lips, and voice. And then I slowly change pitch, as well to get everything nice and warm and loosened up. Oh whoa whoa, whoa, whoa, whoa, whoa, whoa, So, of course, we are not at that level yet, but I just wanted to show you actually, as a throw singer, I also use throw singing me personally as a focal warmup. 9. Overtone Singing; the basics: So after a bit of a warm up, let's explore the world of overtone singing because overtone singing is a vital part of throat singing. So the way I always explain it is the technique of overtone singing is a technique we can also apply on techniques of throat singing. The way I teach throat singing or overtone singing, we always start on our normal voice. So we don't have to worry about the throat singing technique yet. We can simply use our voice in a comfortable setting and learn to sing overtones with our normal model voice. So that way, the start is a little bit relaxed, and we can just feel comfortable using any pitch you are comfortable with or you can freely sing. But overtone singing can be applied on your normal voice or applied on throat singing techniques. So the thing is, I'm always laughing a bit when I hear that throat singing is generally sold as Wow, you can sing two notes at the same time. It's amazing. It's unbelievable. But actually, singing two notes at the same time, using the basic technique of overtone singing isn't that amazing. I mean, it's amazing, but it's not that hard. It's actually honestly quite easy. So we're going to explore the basic principles and techniques of overtone singing. And let's go. Oh, by the way, maybe you don't really know what overtones are. So I'm not going to go too detailed in here, because that can be really complex musical theory, but basically, overtones are in any sound you hear. It's basically what makes the sound unique or gives the sound, its unique color, almost, you know? So any string you play on a guitar or any note you play on the piano or any note you sing is full of overtones. So in overtone singing, we sing a specific pitch, and we try to filter out those overtones and try to sing a melody using those overtones within that pitch. So we filter out some of the sound, and what the result is that overtones shine through it, and you can hear those amplified overtones on top of that pitch. So we're not using the actual pitch or changing the pitch to sing a melody. We're singing one pitch, but the melody line on top of that is what's changing. So let me demonstrate that to you. So when I sing specific pitch, like so, Uh I'm not changing pitch at all. I'm staying on this pitch. And now I'm going to use the basic principles of overtone singing on top of that pitch. Uh still on the same page. So that's what overtone singing is, and that's what we're going to be learning right now. So basically, we are like a human backpipe almost, at least in terms of the two tones. So we have, like, a drone sound that's constantly going. And then on top of that, we have a melody. So if you know a bapipe, it has one or more drones. They only play one pitch. So like a fundamental drone that's constantly going on while you're playing the melody. And then a backcrob also has a melody pipe, and that's where you play the action melody. So we always have that drone going on, and on top of that, you play the melody. So that's the same with overtones sing. We have one drone. Uh, oh, and then the melody line on top of that. Oh. So, how are we doing that? So the secret weapon here is our thumb. Basically what I'm doing. And I can visualize that with my both hands. So this is my upper jaw, here are my teeth, and this is my tongue. Oh. So basically what I'm doing is I sing a pitch. And I change my tongue into the position like I'm saying L. But also, my mouth is in the position like I'm saying, Oh, oh. So O. So when I'm saying, Oh, it's a little bit more going down, like, oh, oh, oh. And then I'm saying the letter L. Oh oh, no, no. So those are the first two things to keep in mind. Oh. Oh. That's really important. You can practice that first. Oh, no no Just get a little bit comfortable with that. Then there is more to it. So basically what we're doing with our tongue, we are filtering out the sound that's being created. And also, we are creating two chambers. We're creating a back chamber and a front chamber because our tongue is closing part of the mouth cavity. So we have a chamber here and a chamber here. So the sound is resonating here, and the overtone is created more in the front part. Oh so we're resonating the sound in this chamber, but the overtone is created more in the front of our mouth. So like I said, there's more to it with our tongue. So what we're trying to do is we are trying to close most of the exit. So the sound is not going everywhere. We need to really steer that sound into a specific direction. So in my case, and this can be different for some singers. My sound is mostly coming from the right side of my mouth. So when I sing this overtone singing and I press my cheek right here, I block the only exit for the air. So here is no sound coming. So when I do that, Ooh. This doesn't matter because this is already closed. So my sound is coming from this side, this side. This means my tongue is a little bit white. Oh, and also a little bit twisted like soap. So my tongue is closing this entire part, and I'm feeling my molars. And with this side of my tongue I'm feeling my molars. So this side is completely sealed. This means the sound is coming mostly from this side. Oh When I press this, I'm sealing my entire mouth. Then there's no good sound coming anymore. So keep that in mind. When I sing, Oh, I'm actually sealing most of this mouth cavity and just staring the sound from the right side. So that's really the most hard thing to master in the beginning of learning overtone singing, just to have that tongue position, correct. So the first exercise is always like this. Oh Lord And maybe when you think, Okay, yeah, I can really hear that overtone coming now. Because you can hear this double tone already. Oh, almost. You really have to play around with tongue position to really get that nice resonation and that nice, clear, crisp overtone. So that's the first thing to try and muster. Then when you feel a little bit comfortable, you can just randomly improvise. Oh, get a little bit comfortable with moving your tongue in that specific way. You can also, of course, change speech. Ooh. Whatever you feel comfortable with. I generally sing a little bit higher than I normally sing because with overtone singing, you get really nice resonation when you sing a little bit higher, you get quicker results, you can hear those overtones much quicker. So instead of singing really low, like, oh, try to push a little bit higher. Oh. That's what I feel always helps. Just sing a little bit higher than you normally would sing. Another important part of using our tongue is, of course, how are we going to create those higher overtones? Because when you hear me singing, Oh, You can hear. I'm actually picking specific notes, so from low to high. So again, I'm visualizing with my both hands. This is my tongue. So oh, Then mostly the tip of my tongue stays in the same position. What's mostly moving is the base, the middle part of my tongue. So when I sing a melody line, you can see what's happening. Oh So you can see the higher my tongue goes, the higher the note. And what you should visualize here is vowels. So when I sing Ah Ah When I sing, you can already feel your tongue is going up. So from. So you can think and visualize how am I singing vowels using my tongue. But in the position of Oh Oh So that's basically how we sing melodies by having that sound. And then using the shapes of our tongue like we're singing vowels. Oh So you can practice that by just singing with your mouth open without the technique. Uh feel and try to visualize what's happening with the base of your tongue. Ooh, oh Yo. Again, with the overtone singing way of singing all So I said, overdosing is essentially really easy, but a hard thing, of course, is mastering this movement of your tongue. That's really the most frustrating part in the beginning. It really takes some time to get comfortable moving your tongue around like this. It really feels unnatural and weird because we're staying on the same pitch. But still we are creating a melody using our tongue movements so we can really amplify those overtones. So, to give you a summary, we're singing on one pitch. Oh, I personally always say to people, Sing a little bit higher than you normally would because the way your voice resonates in your mouth with a higher pitch is stronger, and the overtones, they just come quicker and sound much louder compared to when you sing louder, like so ho Higher is personally, it's easier to find that sweet spot with your tongue and creating those nice overtones. So when we have the pitch, we're going to sing, Oh So position of your mouth, like, Oh, but sing like an l. Oh And we have our tongue quite white, a little bit shifted. So I can seeal this entire part of my mouth cavity, and the sounds coming from here. Oh Nothing happening. This is already sealed with my tongue. What is here's the opening where the sound comes from. Oh So again, Oh, then we use the basic basis of fowls. So Ohhh you feel the minu part of your tongue moving mostly. So when we do that same thing, but with the old position, Oh Oh, And that's overdoning. 10. Overtone Singing; Exercises: Okay, knowing all of that from the previous lessons of overtone singing, it's time to sing a little bit more together because something I hear a lot when I teach people overtone singing or throw singing, they say that it really helps when I sing directly in front of them and they can just tune in with their voice. So they can try to follow my voice, maybe sing in the same page or maybe in harmony to sing a little bit lower or higher. So it really harmonizes nicely together. But I hear very often from people that it really helps when I start to sing with a specific page or with a specific technique, and they can just tune in with their voice. So that's what we're going to do. So let's just sing an open node just to start. Oh. Now, let's use this same pitch with overtone singing technique. Oh Now, let's bring in the three fowls again. First open. Let's go. Uh Now with the tongue closed. Again, and really try to keep the pitch the same, not go wobbly with the pitch you know, so don't lose the constancy of the pitch you sing. So let's L let's do the same fowels again, but so back and forth. Again. Again, I will face the lives with my hands. So these exercises, you can repeat this video as many times as possible, of course. But these really help to really practice the strength and the clarity of your overdones. 11. Throat singing technique #1: Shakha - Part 1: So now that we have practiced the basic principles of overtone singing, it's time to start a real work. It's time to focus on the first real throat singing technique. And this is what we call in Mongolia Shah Hume or Shah. Shah translated means to compress. So it's like this compressed sound. In Ta, we refer to it as horete or simply Hume because this haha or Humiro singing technique is really important. It's like the basis or the most fundamental basis of throat singing. And the thing with haha Hume is that it's a really powerful sound filled with overtones that we can use in all kinds of different ways. It's really important to have this really strong support from your abdomen or diaphragm and really this compression in your throat, and that really creates that really guttural sounding, strong voice, which we call, again, hahahm. So then what exactly is haha Hume? So let me start by explaining how we generally use haha Hume. So I would say, we use Shahan Homi in three different ways. The first way is we can use Shah Home as a singing voice, which means we can sing actual lyrics of songs using Shahar Homi. Let me show you an example. Matt The second way how we can use Shah Hume is by singing melodies, by using our tongue in a similar way that we did in the overtone singing video lesson. But it's slightly different because I'm not actually closing my tongue or touching the roof of my tongue in the osition. My tongue stays freely in my mouth, but still with Shah Hume, I can create these really cool melody lines. Let me show you an example. And the third way that we can use ha Hume is to create these really cool rhythms, and that's also really cool to improvise with. So you can imagine patterns like you're saying, yeah, yeah, yeah, yo yo, yo yo y, y, y yo yo. And you can just improvise with this. And especially this kind of rhythmic sounds and techniques, you hear a lot in Tova. So let me show you an example. So those are a few ways how we can use ha ha homie. So the next question, of course, how do we actually sing this technique? Well, not to scare you right away, but in my experience, people generally find this specific technique, at least basic technique, the most difficult of them all. But don't worry. Everyone will learn it. So, I have a few different tips or methods, how we can find that sweet spot in our throat where we need to focus on, and guess a few different ways you can try. And there's always one specific method that helps for specific uh, people. So some people have it quite fast. So it takes a little bit longer, but again, like I said, don't worry, eventually, you'll find it. So method number one is when we say, for example, Oh, what you feel in your throat is what we call a glottal stop. So when I say, what I feel is I press in the abdomal area and I also feel there's compression in your throat. Uh uh oh. And you can do the same when you say the word Yu and you quickly stop at the end. Yo Yo you feel your abdomen goes squeezed together, and also in your throat, you feel this compression. So with example of Oh, when I say, and I keep that compression in both your abdomen and your throat. And then when I say, Oh, I squeeze my force with. So let me show you. Uh Uh Uh Uh So maybe a little bit lower. Oh Oh. When you're learning haha Hume, I personally always say, try a little bit of a lower pitch because when you sing higher. It can be more tough on your throat. When you sing a little bit lower, you're singing a little bit with less volume, and it's a little bit more chill. Wo You could build up pressure and change pitch, higher pitches eventually, so. But again, with Oh, when you say you feel this glo of stuff. Uh huh. And that's the position in the throat that we need to keep squeezing. Not too much. Not only want to squeeze it closed. But when you say, uh uh, oh, uh oh you feel this pressure in your abdomen and your throat. So again, uh, keep that pressure. And then squeeze your phosprate. Uh Uh Uh huh uh uh eventually, you feel that specific spot where you need to squeeze a little bit. Uh huh, uh, uh, uh, uh, uh, uh, uh. So method number two is creaking door or foco fry. And I have a love hate relationship with this foco fry. I I kind of hate it because I hear it very often, especially in the past years, especially with celebrities or people influences. I don't know. I don't want to sound too negative, but when people start talking like this, I just don't like it a lot. I can't really do the foco fry very well. Some especially women do it. And you can do it so loud and it sounds a little bit annoying when I hear it. It's almost like you're too lazy to use enough air to keep that focal false vibrating. And then it sounds a little bit bored. I don't want to sound lit like this. I know I'm beautiful. And I know you're beautiful, but it sounds lazy. So enough with the focal fry. Like I said, I also love it because it's almost throat sing. So when you do Fogo fry, you feel this pressure in the same position like you're saying, oh. And when you're singing Fogo fry and you slowly push your voice through it, you get the basic of Sha home. So again, let me show you. And this is Shala home. So foco fry slowly squeeze your voice through it with the pressure from your abdomen and keeping the tension. Uh, h. Eventually, you'll find the sweet spot. So method number three is when we sing or make this airy whispery voice, like so, It's very important to have that strong pressure on your abdomen, like, really pushing that air out. But also not to release the air too quickly from your mouth. So you need to control it, and that means we're lightly squeezing again. So when you do this, you already feel this pressure here. And then, again, like the fk fr, we're slowly pushing our voice through it, like so. A Then the idea is to lose all of that airy sound and just focus on that voice that's coming through and keeping that pressure here. Until all this whispery sound that airy sound is gone. So again, from the air whispery voice, you feel already a little bit pressure. Then add your voice it, keeping that pressure here and here, not too much. You need to find that spacep This is the right way then slowly build more. So, eventually, you'll find that sweet spot. Not too much pressure, not too little. Just enough to have that h, h. And this whispery voice, really helps you to find that that transition between that airy voice to the actual shallow whom he falls. Uh So method number four is not actually a method is just what I call the funny voice method, because you hear in cartoons or voice artists, they use this this crazy voice, like, so they can speak a little bit crazy or maybe like a pirate. You know, like the funny voices. So when you try already to do just the funny voice, you can feel it's kind of connected to a twang, Tang. You know, it's like a musical term for this sound. I'm not a twang expert, but when you say twang, you already have that higher sound that we need. Ah. Ah. Ah. And the same with the cartoony voices. Hi, man. Yeah. Yeah. Hey, hey, yeah. Yeah, man. I'm the best throat singer of the whole wide world. So when you have these kind of voices, you automatically squeeze your voice a little bit. Or, like I said, with the pirate. You have this specific tension in your throat, and it's just a matter of finding how much pressure to push. Hey hey hey. Hey. So you can just try to make a funny voice and then slowly stretch the note a Hey. What's up, boys? I'm learning throat singing. And maybe a little bit connected to this because it's kind of funny in a way, but it's to imitate a sheep. So I'm not talking about a cute little baby sheep or a cute little goat, like, M, M, M. Needs to be like, big old fat sheep. Like, so W L I know. Looks funny. It's Sounds funny, and it is funny. I know. Trusting can be funny, but imitating a sheep like that can also help. B. B. B B, B B I don't know. Find the sheep inside of you. No, but seriously, these are just a few methods to find that sweet spot in your throat, to create the basic sound of Shahumi. Who 12. Throat singing technique #1: Shakha - Part 2: So hopefully now you have a little bit of a basic understanding or maybe already a basic skill of singing haha hum. So, in part two of this lesson, I'm going to dive deeper into the different ways how we can use Shaka Hume. So I already showed you three ways how we can use Shah Hume, but I'm going to repeat those and dive a little bit deeper into it. So the first way to use Shah Hume like I demonstrated before, was to sing songs or actual lyrics of songs. So actually use your voice, like a normal singing voice, but with this Shaka Homi technique. So the interesting thing is, we can change pitch, of course, and we can use the ShakuHumi in the lower register, but also in the higher register. So I want to demonstrate a little bit how this also changes the general sound of this technique. So I can use a lower or middle or a higher register. So let me demonstrate it by singing a Mongolian folk tune. So first, the lower register. Math Middle register? Or the high register. Whoa. So you can really hear changing pitch or different registers of your voice. You can really hear there's things going on. So when you sing in the lower register, you have this really nice roundness in the sound. So you have more of these overtones shining through. And especially hear the low registers being sung in region of Tuba. So Tuvan throw singing generally is in a more lower register, I would say. And compared to Mongolians, they generally like to sing in the higher registers. So they lose some of the roundness and have more of the powerful, strong, higher pitched sounds they like. Still full of overtones, of course, even in the higher registers. But just shows how you can use the same technique and still give it an entire different feeling or a different vibe and sound. So to achieve this, it's just really important to, again, slowly build up. So I always say the lower registers are a little bit more easy to sing. Like, so oh there's tension in your abdomen and your throat, but it's still quite comfortable. It's not It's almost effortless. Ooh, So pitch like this. Oh Oh So shifting from your normal voice to Shahar Homi? There is some tension here and there, but it's still really almost effortless. Takes hardly an effort. When you build up pressure, you're going to sing a little bit higher pitch. You feel there's more support from abdomen and diaphragm, and there's a little bit more tension. And when you go even higher, more support from below. Still the same pressure here. Ah. So that takes practice. You need to train these muscles. Ah, really have that support from below, and not squeeze too tightly here because you will block the exit of the sound. Uh, it's too much pressure and too much constriction and compression is not good. You need to find the sweet spot. And then you can play around just from low to high and high to low. Oh then like I demonstrated before, we can also use haha Hume to sing melodies. Again, not with the closed tonguetechnique. I'm not doing my tongue stays freely in my mouth. It's just the basis of my tongue that's mostly moving. Let me visualize with my hands. It's a little bit tricky to really synchronize my hand with my tongue, of course, but I'll try my best so you can understand the lower the node, the more bigger the mouth cavity is. The higher the sound, the higher my tongue rises and the smaller this chamber becomes. So let me think Mongolian folk melody. Using Shaka Rumi. Well. So you can see, my tongue is like this and basic focuses on the middle part of my tongue. So it's important to have your mouth in, like, an Oh. Not an Oh, but an oh position. Oh or lower register or lower pitch. How you can see my lips. Ooh, a little bit forward to really expand this resonation chamber here. And your mouth and your jaw goes down a little bit because you're saying, Oh, so you're really making this chamber bigger to make this resonation, your mouth really nice and round. Wow. And then you can use the movement of your tongue to create melodies, like so. Well So fish light met my hand? Oh, yo o stay on the same pitch. So again, the melody that I sung was a Mongolian folk melody. I sung it in a little bit of a lower pitch. But of course, I can change pitch here as well, like I showed you before. I can go a little bit higher, like so. Or even higher. And you can hear if you go higher, you lose some of this nice roundness. And the overtones are still there, but they get a little bit, maybe a little bit overpowered by the volume. And what are you saying a little bit lower? You have this nice resonance here going on. But you can play around with that. So the third way of using Shaka Home technique is similar to the previous one to sing melodies. But this is more geared towards creating these really cool rhythmic patterns. So this is a really fun way also to get familiar moving your tongue and just get familiar with Shah Homie in general is creating these really cool patterns. And like I said before, this is something that you hear in tube and throw singing a lot. So the key element here is create patterns that repeat themselves. So you get this really nice repeating pattern to create these really cool rhythmic melodies. So basically, when I'm doing it with my normal voice, I'm saying, like, yo yo yo yo yo yo. And I can do that then again with Shaka Homi. So for this specific technique, I always say, be creative. I mean, this just invites to improvise, you know? But to make it really nice, it's important to have these repeating patterns. So not just randomly create random sounds, but really try to make these repeating patterns. So hopefully, that gives you some material to practice with to really master the technique of Shaka Hume. So these are the basic ways to use Shaka Hume, either by singing words, either by singing melodies or by creating these really cool rhythmic melodies. 13. Throat singing technique #1: Shakha - Part 3: Okay, with all of the information and explanation I just gave you and some of the exercises we just did, it's time to sing together a little bit more because like I said in the overtone singing exercises, I hear from people a lot that it really helps when I sing directly in front of them and they can just tune in with their own voice. So sometimes when you practice on your own, you kind of forget this starting point. You know, it's not like muscle memory thing yet. So that really helps when your teacher or a skilled singer or throat singer, in this case, starts singing a pitch, and you can just follow along. So we're going to do that. With some haha, Homi exercises. Okay, let's sing in a little bit of a lower pitch. Like I said a few times before, it really helps to practice with a lower pitch because it is not as hard and it doesn't take too much strength yet, and it's quite relaxed on your voice. So let's go with a pitch like this. Then let's first sing a longer stretched note together. Like so. And again. And again, try to keep the pitch nice and steady. Don't go up and down. Now, let's bring in a little bit of our tongue, Yoyo Again? Yo, yo yo yo yo yo yo. You can practice with your normal voice as well. You can practice the movement of your tongue. So again, in a slightly different pattern, maybe like so. Maybe let's bring in a variation like Oh oooh, y, y, oh, oh, oh, oh, oh, y, y, y. Okay. So really, practice this movement of your tongue, you know? Oh, oh, oh, oh, yo, yeah, yeah, y, y, y, yeah, yeah. So it's really similar to all of the previous exercises we did with the vowel. So it all comes down to the basic shape of our tongue when we pronounce a vowel or this really determines the shape of the mouth gravity, which is the resonance chamber, you know? And with this Shaha Homi, we can really sing these really cool patterns, like I explained before. So maybe a little bit of a faster pace. Just try to follow along. You don't have to sound perfect yet. Just try to find the same page and just to create this, like, really cool resonation between the two of us. So, again, well And then, of course, we can also change pitch. We can sing a little bit higher, for example. Like so. Uh Uh So let's sing a higher pitch together. Just try to tune in with your voice. Again. Something that's also really interesting with haha Homi. We can also focus less on tongue movements, but more on exaggerated lip or mouth movements, like so. Still, keep a steady pitch. But instead of moving the tongue, we're moving mostly the lips and mouth, and the jaw. This especially sounds nicer in the higher pitch, in my opinion. Again? Wh Okay, then these are just a few exercises that hopefully can help you to sing together with me, and you can repeat these exercises in this video as many times as you want, of course, and just try to find the same pitch that I'm singing or maybe singing in harmony, whether you're singing a little bit lower or higher, to create this really nice resonation between the two of us. And hopefully it will really help you to find the nice sound within your voice. 14. Throat singing technique #2: Isgeree - Part 1: So, probably the most well known throat singing technique is the whistling type of throat singing technique. And it's what we call in Mongolian, IhriHumiO in Tuvan, it's called Segut. And in Mongolian, Ihre Hume basically means to whistle. So yeah, that's why sometimes people think it's like a type of whistling, but it's still it's throat singing. The basis is the Shaka Homi technique. And on top of that, we apply the basic principles of overtone singing. So everything we learned and we tried in the lesson of overtone singing also applies in this lesson. It's exactly the same. It's just that we now don't use our normal model voice. We now use the Shaka home voice. So first, you really need to master the basic principles of overtone singing. Again, oh And then also, you need to master the basic technique of Shaka home. Oh. Oh. Whatever pitch. And then it's time to combine both of them. That's the thing we're going to focus on in this video lesson. Let's start step by step again. So first, we'll sing haha home. So, again, I said it a few times before. Let's start on a lower pitch because it's a little bit more comfortable. And in general, I think in my experience, it's a little bit easier to start on a lower pitch compared to a higher pitch. So let's, for example, sing in this pitch. Ohh then you can see my mouth is in the position of Oh, Oh then bring in the tongue, like the ld. Oh no. So that's the first thing to feel comfortable with. Again, we did the same, you know, overtone sing video lesson. Oh. But now the sound is created with the Shaka homi technique. Oh no. So first, repeat that a few times. Oh no no And then besides that, let's sing three fowls again. Without touching the roof of your mouth with your tongue. So open. The tongue floats in your mouth. Oh So I stay in one pitch. And feel what the bass the middle part of your tongue is doing. Oh Now combine that with So, those are the first steps in singing cri Homi in combination with haha Homi. So first, Uh, find a good pitch. Really practice that so that your voice really has a good strength. Uh uh, then slowly bring step by step your tongue in the position. Then bring in the position of the vowels. I. And then closed. Oh So, that is the first part you really need to practice very well. Just those three notes. So a question I often get, of course, is how do I get that overtone louder or clearer? So this, of course, is a matter of practice. So it's like fine tuning, and in general, it's just really strengthening all of these muscles. And it's also part muscle memory, of course. So eventually you'll feel how to move your tongue. Automatically. In the beginning, it's like switching a little bit to the front or the back or tilting your tongue a little bit. Maybe you try a higher pitch of a lower pitch. It's just practice. After enough practice, you'll find all of the sweet spots and the overtones will sound clear. And then, of course, eventually, you can play around with all different pitches so you can start with lower pitches. Or high. One little tip that I haven't mentioned before is using your hand as a cup or maybe even to hands because we're singing away from our ears. So, especially in the beginning, you need to kind of get familiar with overtones and really find sweet spots. And then it's sometimes hard to hear what you're actually singing. So you can use your hands like this to bring your voice a little bit to your ears, like so, Or in bow fans, then it gets even louder. And the same with overdosing. If you want to have a little bit more relaxed exercise, just use your normal voice. That helps you a little bit to find the spots in your mouth playing around and really hear those overtones. A little bit clearer by using your hand like this as a 15. Throat singing technique #2: Isgeree - Part 2: Okay, now that we've learned a lot more about the basics of ShahaHmi and Ihre Homi, it's time to repeat some of those things. And also, let's dive a little bit deeper into some of the details. So let's first sing a good pitch with ShahaHomi. Okay, now let's add the tongue. Repeat this many, many times because this needs to be, like, a nice, steady pitch, and you should already hear this double tone. So the overtone is really created in front of the mouth. Really listen closely to what you're singing. Again, you can use your hand to amplify the sound and bring it towards your ear. No Again, also pay close attention to my jaw, my mouth, and my lips. Again, the Oh position is very important. Oh and then the end. So oh my lips go to the front a little bit. Oh Uh, so we did the I exercise a few times. Let's repeat that one more time. First, without touching the roof of your mouth. Now, with the tongue technique closed You can already see it maybe. So when I say, the jaw goes down a little bit, tongue is more down, so the cavity here is bigger, so the overtone is lower. When I go to the E and E, you can see my jaw clenches a little bit, and my lips almost like I'm a little bit smiling to release that sound. So when I reach the higher tones, you can see my lips open up a little bit. Uh to really get those clearer, louder overtones, again, it takes some practice and just try to move your lips a little bit, your jaw, and of course, the tongue moving is especially important. Just try to fine tune it, listen closely to yourself, and try to find those sweet spots to really let those overtones escape. So when I reach the higher overtone, and you for yourself, you can't really hear the clearness of it, try to move your tongel around a little bit. And again, try to seal as much as your mouth as possible to really filter out those overtones. So when I don't have that seal sealed enough, you can hear the difference. So I'm making my tongue a little bit wider and less wide. When I make it white and the seal is closed enough, you can hear the overtone comes out much clearer. That's really important. So now we did I but now let's expand with a few more fowls. Like then go back. Oh Then we have a more complete melody. Uh, yo hahahmi Closed down? Going back down also takes a little bit of practice. So when you reach the Oh And here you can also hear the difference between Oh, and Ooh. Oh So lip details here. Oh This takes practice, but it's interesting to try that. Oh Oh. Just repeat and try on your own bass. This is also really interesting exercise to reach those higher overtones and go back to the lower overtones. We can also try a little bit of rhythmic exercise. I'm going to repeat this in the next video as well, but just to give you a little bit of a startup point, we're going to sing, like, for example, I'm saying, yeah, yeah, yeah, yo yo yo, yeah, yeah, yeah, yo yo yo. But then with the closed tong technique, so you And then, of course, with Chaka Homi. This is a really interesting exercise, both for your tongue flexibility, but also just because it's really cool to sing like this. So you can make really cool patterns, like soon. Okay. So don't get frustrated when you don't get that specific sound head. You can play around with pitches, so lower pitches. Or a little bit higher. Or higher? Thank you. So it all changes the sound and general color of the voice. You can play around with that. And again, don't get frustrated when you don't get the specific sound yet. It takes practice, and you really need to build up strength in your voice. So it's really important to keep practicing that hah homie. Oh. Oh. Oh, then adding the tongue. Hey Hey Eventually, it will crumb just like normal whistling. It will be like a second nature. 16. Throat singing technique #2: Isgeree - Part 3: Similar like we did with overtone singing and ha ha Homi exercises. Let's also sing I Homi technique together with a little bit longer stretched notes and just a little bit longer exercises in general. So like I said, a few times before, it really helps if you sing together with someone who was already trained and has a solid technique. So again, I'm going to do a few exercises, and you can just follow along. It doesn't have to be exactly the same that I'm doing. Just try to find the same pitch and try to just follow along, basically. That's the most important thing. Okay, let's sing in this pitch, for example. Uh, First, a longer note. Okay. Now, let's bring in the tongue. Okay, so that's what we're going to do. Now, let's first sing freely a little bit with the tongue closed. Uh Okay, now let's bring in again, the first three fowls. Uh were going to do that? Wait the town closed. And again? So this is a really important exercise. Ah Repeat that various times. Now we can do the same W begging for Ahh I With closed tongue? Uh. Again, repeat. And again, we can also try a lower pitch. If that feels more comfortable in the beginning, that's a bit of a lower pitch. Oh Same exercise. Again. And of course, we can also sing a higher. Oh What we can also do is a little bit of more pattern, like we did with the Shah homie exercises. For example, like this. So basically, I'm saying again, but with a little bit of an accent and a movement with my tongue, like so, But then with the tip of my tongue, touching the roof of my mouth again, like the basic cre Homi technique So basically, what I'm doing is Again, And he can play around with that to create again, these really cool patterns. And another example in this pitch So, basically, what I'm doing, I'm staying twice in the same position, so getting a little bit of an accent. And here's another example, little bit of a lower pitch and with some nice rhythms. Just try and follow along. So let's use this pitch. Oh the closed tongue. And let's add in some nice patterns with our tongue movements. That So again, what I'm doing GamechaHHi Without the rhythmic pattern, it would sound like this. I can wit with me better? Also an interesting exercise is to create a little bit of slower melodies using excrete home techniques. So just slightly changing the vowel shape of your tongue to create these nice overtone melodies on top of the basic drone sound. So, for example, like this. So basically, I'm going from. So I'm going up and then up and then even more. So you can create these really cool simple melodies. Again, oh So again. My again? And then of course you can just sing freely and just try to follow along. So hopefully, these exercises help you to find the position of your mouth and position of your tongue and to create really cool overtones and Homi technique. 17. Throat singing technique #3: Harhiraa - Part 1: Here we are. Another throat singing technique somehow related, but also entirely different. We're talking about the lowest technique. In Toa we call it Kargia. In Mongolia, we call it haga. It's similar. And in Mongolia, it's literally translated as a deep, raspy sound or a roar. And yeah, I mean, many people know this technique because it's especially in the past somewhat years, it's became quite a popular singing technique in a way. So we hear it a lot in beatboxing, for example, and they call it the throat bass. But we also hear it in other musical genres such as, like, the the type of king music that we hear more often. And they really discovered this rosy technique. I mean, I understand that. It really fits well in a lot of different types of musical genres. I mean, it's just a cool sound. And again, everyone can learn it. So that's the really cool thing. One question up front to give you a little bit of information, many people ask me, Always can woman learn this as well, the deep low technique? And of course, we are all humans. And I mean, there is a few small anatomical differences between females and males, but in general, it's the same. So even females can learn this low technique as well. And, of course, maybe in general, men will sound more lower than a woman. But we can all learn this technique. That's a really cool thing. Another cool thing about this technique is that it just invites you to improvise with it. It's this nice round sound, this cool, big sound, just invites you to play around with this vibration, this cool sound that you create. We're going to explore that as well. Compared to all of the other troting techniques, I've experienced that most people are in a way, a little bit familiar with this technique. Either by accident or just by playing around with their voice. And even people without any specific focus on throat singing, I hear it quite often. So when people speak very excited or enthusiastically, I can hear this focal distortion caused by the false vocal chords. I can hear that in their voice. And then when I ask them, Hey, can you do that again, then they can. It's just by accident sometimes. So many people get this false vocal chord vibration quite fast. Others take a little bit more time to discover the spot where you need to focus on. And that's also the tricky thing in Hatha. It is a little bit tricky to explain and to teach people because I don't know exactly why, but just because some people, they get it instantly, some people take a few days, and it's just so different for many people. But again, don't worry, we'll figure it out. So like I said before, hardha is all about false focal chords vibrations. And the false vocal chords, they sit directly above the true focal chords. And in hara technique, the idea is to make those false vocal chords vibrate because in normal singing or normal speech, they don't move or vibrate at all. So the trick is to find the spot and the way to get them to vibrate. Another interesting thing about haga or the false vocal chord vibration is that it makes your voice sound one octave lower than you actually singing. So I'm not changing the pitch of my actual voice. I'm not saying like, I'm staying on the same pitch. When I activate that hara technique, the false vocal chords vibration, suddenly my voice sounds one octave lower. That's really interesting. Let me show you what happens. When I sing hara, both my true vocal chord and the false vocal chords vibrate. When I sing a note, I'm going to visualize with my fingers the true focal chords. And then when I activate the false vocal chords, they are going to vibrate on top of that. So it's like teamwork between the two types of focal chords we have. So let me show you. It's two pairs of focal chords sounding together. So let me show you on my phone, when I sing a note, for example, this note, it's a C three. When I activate my hada technique, you will see the C three drops down one octave. Uh So suddenly my voice sounds one octave lower than I'm actually singing. So I'm not doing I'm not actually singing lower. It's just by activating that false focal chords vibration. It gives the impression that I'm singing one octa flower, and that's really interesting because suddenly your focal range is a lot bigger. Like I explained with haha Hume, we can use Haha in a few different ways. So as a throat singer, we can use Haha Homi first as a singing voice, so we can sing actual lyrics of a song. So let me demonstrate, for example, a Mongolian folk melody called Dorgunl. No no no So I'm singing actual words. So I can also use hara to sing melodies. So again, I'm not touching the actual roof of my mouth. My tongue float freely in my mouth, but I'm still I'm moving my tongue to pick some overtones. So I can sing the same melody. But now, as an actual melody without the words. So let me show you. So you can hear now I'm using the same technique to create a melody. And the third way is to create, like, a rhythm, to create these really cool parents again. So let me show you. So I'm using my tongue movements again. So, especially that last wave of singing with the rhythms, you hear it specifically more in Tuvan trozing music compared to Mongolian music. In Mongolia, they focus more on creating melodies or singing words with these troting techniques. Now, I mean, it's time to find the hara in your own voice. So like I explained some people have it very quickly, and for some people, it just takes time. So like I mentioned before, when people shout or speak very excitedly or enthusiastically, sometimes I can hear that false focal chord vibration in their voice. So, for example, when they say, Hey. Hey, I can hear this focal distortion caused by the false focal chord vibration. And then when I ask them, Hey, can you do it again, then they can do it. So that's the funny thing, but also the complex thing because until you have it, it's like a mystery. But once you have it, it's like a switch. Oh, man, it's really that easy. Just you need to have it one time, and then you feel the vibration and then, Okay, okay, now I get it. And that moment is like the it's like Nya opener, you know? So again, once you have it, it's like, you're getting frustrated. Oh, why can't I get it. But again, trust me, we'll figure it out. So, like the ShahaHumi video lesson, I have also four methods or four tips to find the hada in your voice. So the first method is to fake a cuff. Needs to be, like, a deeper cuff to really get some things moving around, you know? So, like, So when you do that little bit more exaggerated coughing, you can hear because you're pushing that air out, you can feel some things moving around. And one of the things that are starting to vibrate are the false vocal cords. So again, I mean, just try to loosen things out, try to make this coughing sound. And once you think, Okay, maybe that could be the false vocal cords, try to stretch out the note. Uh Uh might not sound super nice immediately, but it's all about just finding that part we need to focus on. Uh uh uh uh uh, Once you have that, it's just a matter of fine tuning that sound. Uh So this coughing method is just one method you can try. The second method is to sing with a closed mouth. And this, in my experience, really helps people because it creates a pressure in this area because the sound won't escape as quickly and it creates this pressure in your throat, and it helps to make this false vocal chords vibrate easier. Not for everyone, but I certainly think it really helps in general. So let me demonstrate it. Mm. Mm. Mm mm. Mm. Mm. So make that humming sound or like a buzzer, you know? Mm. Mm mm. And the sound is only going through my nose. So there's less space to escape, so there's more pressure build up. And just make this really deep exhale. Mm mm mm. And try not to stretch out the nose too long yet. Just make this short burst. Mm. Mm. Mm mm mm. And once you think you have it, you stretch them out a little bit more. Mmm. Mmm. And when you think you have it, you can try to open your mouth. But one thing, when you try to open your mouth, suddenly, the pressure is different, so maybe you'll slip out of it. Mm You feel you need to squeeze a little bit. Really a little bit, not too much because then it will get too constricted and the sound is too distorted. So, especially when you open your mouth, you feel you need to squeeze a little bit more, but almost unnoticeable. But still, there needs to be a little bit of pressure to keep that false focal chords vibrating, you know? So again, mm mm. And again, not unimportant. Always keep that focus on your abdomal area, the pressure, the support from your diaphragm, uh, uh, slowly and quite strongly but not as strong as the Shahui. Ah, there is pressure for your abdomen, but not as tight as the Shah hui. It's quite a relaxed way of singing. So the closed mouth technique sometimes helps people to find that spot in your throat. Mm So where do you feel the vibration? It's quite high in the throat. Mh mm, mm, mm, mm. That's one method to try and find this hara technique. So the third method is to grab a drink. So I have some water here and just take a nice sip and release that satisfaction of that sip. Like so. You know, really, really, really enjoyed that sip of drink. So again, this deep exhale. Uh, but not too whispery. Ha. This is not good. You need to a little bit high. Ah. This is really low, you know? A, needs to be higher. Uh, again. Mm. Uh. So when you have that? Ah, you can exaggerate a little bit, but not too much, needs to be not you need to avoid that really, I don't know how to call it in English, but it's like this it makes this painful, cold, almost cold feeling, you know, needs that's too low in the throat. Needs to be higher. And once you have that, you can try to stretch the note and fine tune it. Slowly build up a little bit more pressure and a little bit more support from below. And you feel you need to squeeze a little bit more to get that nice sharpness and roundness. So again, one method you can try to find that haga sound. So the last method, and maybe this is, in a way, my favorite method because it really shows you how easy it is to activate this vibration is just to sing from your normal voice and kind of increase the airflow and the strength of the airflow because even now when I'm talking, the false vocal chords won't vibrate. It just needs more and stronger airflow to get this vibration going, so for me, of course, I slip into the hydrata technique very easily because I've trained it for so many years, and these are basically tissues or muscles or things you can train. And once trained, you can activate them super easily. But this way of increasing the airflow on top of your normal voice that you're singing really helps. And it shows you how easy and almost effortless it is. So again, from a normal note, like so, uh, uh, again, it's really high in the throat. And when I'm singing a normal note, I hardly feel any pressure building up from my abdomen. But when I activate this Hagera that's false focal chords vibrations. I'm feeling that I'm pushing much harder for my abdomen. Uh uh, uh, uh, first, try shorter birds, bursts and then slowly make the notes longer. And don't forget to drink enough. I mean, especially in finding this hardhat echnique you really need to drink enough to make your throat, uh, not too dry because you're trying all these kinds of things and you make all these kinds of sounds, and it just it can get irritated a little bit. It's normal. So again, a cautionary note, if you feel irritation, it's normal. I mean, you're trying new things. It can be a little bit of a discomfort feeling, but if it's really painful, then let's call it enough, you know, take a break, maybe take a few hours break or maybe continue tomorrow. We don't need to over practice or do too much because once it's too irritated, you'll get nowhere. So again, a little bit of irritation or a little bit discomfort is normal. Pain is not good. Stop, take a break, continue tomorrow. So again, from the normal voice to Hara, uh uh, and you can try different pitches. Uh Uh really try to squeeze that air out. Uh Uhhh. It's really this stronger airflow that you're creating that causes this false folkchors to vibrate. And there's a little bit of tension here because once that vibration is going, I need to keep that, you know? Uh, So it's a combination of pushing here. But also the pressure a little bit here. So when I'm switching from a normal voice to haras like this. Uh Just another method to try and find your hard. 18. Throat singing technique #3: Harhiraa - Part 2: Hopefully, you have a little bit of a hara sound now. As I said, for some people, it goes faster. For some people, it takes a little bit longer, but eventually you will get it. Just take your time. Don't push yourself too much. The important thing with hara is it's a really relaxed way of singing. When we sing Shaahum there is more tension, and it takes more effort than when I sing hara. Oh. So really keep that in mind. Hardha doesn't need a lot of strength. It is really relaxed. And that's also maybe the reason why people like it. It gives this impression of relaxation, you know? Well, this sound, it feels a little bit more constricted, and as there's more tension going on, still can be really nice, but hardha really gives that feeling of relaxation. And that's exactly what it is. It is so easy. It almost takes noever So that's one important thing to keep in mind. I know it's frustrating when you don't get it. But in this video, we're all about fine tuning the sound. So hopefully you'll have a basic had rab by now. And one thing, don't make the notes too long in the beginning. Just make shorter notes like and drink enough. We need the throat to be nice and comfortable. So the water really helps to make everything more comfortable. And if it's too dry, especially in the beginning, it can get irritated very fast. So drink enough. In the whole lesson, after each exercise, take a sip of a drink. It's really important, especially in the beginning. Once you're used to it, you're trained, of course, you need to drink water every now and then, but it's not as hard on your throat. So now let's try to fine tune the sound. So first, maybe if you cannot sustain a steady note in the beginning, just try to follow along, but it's not important if you take breaks in between each exercise. Now it's important to fine tune that sound. So when we have let's first focus on the position of our mouth. Again, we have this oh shape. This really makes this nice round sound. So you see, my lips the opening is quite small. So this gives this nice and round sound. This is really a good practice. Just one steady note and try to keep it really steady in not like especially at the end where you don't have any breath, sometimes people are losing their nice pitch, you know? So always try to keep it nice, strong, and steady. Real push from your abdomen. Okay, nice. So now I've been singing in quite a lower pitch. But of course, like the other trot singing techniques, we can also change pitch. And this also depends on your own voice, of course. So for some people, they have more comfort in the lower region. For others, they feel comfortable in a little bit higher pitches. So let me show you how we can change pitch with haga technique. And you really need to be comfortable with a good solid hara to do this. But, I mean, it's time to play around with that as well. So let me show you from low to high. You can hear once I reach the higher pitches, the hara eventually disappeared, and it just can't vibrate well enough to keep that nice sound. But you can play around with that. So again, from low to high and high to low. So you can really play around with that. And when you find a pitch that you really like or really are comfortable in, just try to find you that sound. Really low. It's a little bit harder to sustain. For me, this is a really comfortable pitch. But I can also do a little bit higher, and I'm still really comfortable in that. Oh, This is already too high for me, and I can't really keep a nice steady sound. Hydra really invites you to improvise and play around with this sound. So I showed you a little bit before. We can create these really cool patterns. So we say, yeah, yeah, yeah, yo yo yo, yeah, yeah, yeah, yo yo, stay in one pitch all the way through. Now with Hara You So my tongue is quite flat. Yo Yo Yo. So the back part is going a little bit up. Yo, yo yo yo ya, ya, ya. Y, y yo. So slow down. Yay, y. But I'm staying on one pit. So you need to make this opening quite small. So and then you can play around with more variations. Like, so This breaks This takes practice to find these spots and exact movements with your tongue. But we did it a few times already. It's basically Yoyo. But I'm never touching the actual roof of my mouth, the upper palate with my tongue. It's always a bit of space in between. He will so you can really play around with that. It's really cool. Another way is to actually the other way around, not use our tongue but use our lips. So this technique specifically also invites you to play around with this exaggerated mouth and lip movements, like so. Oh So you can see I'm now changing the overtone melody with my lips and jaw and mouth in general. This is also really nice exercise just to play around. But, again, this needs a really nice and solid haha. Especially when you open wider, you can slip out of the haga technique, compared to when you have it more closed. Like so oh you really need to have this nice and steady haga to achieve this. So hopefully, this gives you some nice pointers to practice your haga. Like I said a few times before, just take your time. Haga needs to be really relaxed. It needs to be relaxed. Especially in the lower pitches. The lower register of your voice, it's so relaxed to sing and just freely sing. It's important, especially with this technique. Just improvise. That's really this technique really invites you to improvise. And that's also a good way to exercise this technique to get comfortable with. And once you have it, you will activate it just like flipping a switch. 19. Extra throat singing technique: Harhiraa Isgeree: This technique is not really a fourth throat singing technique because it's essentially the same as overtone singing on top of Shaka Hume, which we call Ihre Hume. Basically, this is Ihre on top of haha. So we apply the basic principles of overtone singing on top of haha. Again, Shaka Hume with overtone singing is this. We know that and now we can do the same with haha. So we have haha. Uh It's exactly the same. So basically, what you need to do is be skilled in overtone singing. And then once you're already experienced with Shaka Hume and Ihre Hume, the only thing you need to learn is a basic, good haga technique because all of the other things also apply on this when we sing haha, and then with overtone singing technique. It's exactly the same. But let's just repeat a few exercises so you can get familiar with the sound of haga combined with Ihre Humi. So we have a steady note. Stays like this all the way through. Then let's sing the L shape again. Together with the O shape. Again, it's exactly the same with cre Homi. Now, we are going to do the same exercise where we say, hara Now the same, but with our closed Dante Nick So it might feel a little bit different compared to when you sing Shah Hume. It's here home because there's a lot more vibration going on, so it feels different. But the technique on its own is exactly the same. The basic principles of overdose singing, which we apply on haga to create is he haha. One note. I'm just now, I was singing in a lower pitch, but I personally like, especially Ihre hara in a little bit of a higher pitch. So, for example, Uh And also, as a teaser for a next video, I'm going to also be teasing you Sha hahaha, which means it's a combination of ha ha and ha ha, and will sound like this. So it's ha ha, and then hara on top of that. And the haha haga and the scar technique, it is really nice crispy overtones that you'll get. Like so. I'm just teasing you now because this is this takes a little bit more practice, so it will be for a video that I'll be releasing soon. For now, just play around with the basic principles of overtone singing or scare home on top of Hagera. Oh Oh, L, L. 20. Coming Soon: More advanced techniques: Hey, everyone. So soon, I'll also be releasing some really cool new videos, such as to talk a little bit more about complex or advanced stretching techniques where we can explore using, for example, nasal cavity or lip vibrations or tongue vibrations or more tongue movements, or combining several techniques together to create really cool new sounds and much more, of course, so stay tuned. 21. Coming Soon: Singing with instruments: Eon. Also, I'll soon be releasing some nice videos where we can talk about combining throw singing together with some traditional instruments and how I use them in my throw sing music, such as the Moren hour or to shu, Altai harp, jaw harp or Shruti box, for example, and maybe some more, I don't know, we'll see, but stay tuned for those.