Editing Overtone singing (section)

== Asia ==
=== Mongolia and Buryatia ===
{{Main|Music of Mongolia#Overtone singing}}
It is thought that the art of overtone singing originated in southwestern [[Mongolia]] in today's [[Khovd Province]] and [[Govi-Altai Province|Govi Altai]] region. Nowadays, overtone singing is found throughout the country and Mongolia is often considered the most active center of overtone singing in the world.<ref>Sklar, 2005</ref> The most commonly practiced style, called {{transliteration|mn|khöömii}} ([[Mongolian Cyrillic alphabet|Cyrillic]]: {{lang|mn|хөөмий}}), can be divided up into the following categories:

* {{transliteration|mn|Uruulyn}} / labial khöömii
* {{transliteration|mn|Tagnain}} / palatal khöömii
* {{transliteration|mn|Khamryn}} / nasal khöömii
* {{transliteration|mn|Bagalzuuryn, khooloin}} / glottal, throat khöömii
* {{transliteration|mn|Tseejiin khondiin, khevliin}} / chest cavity, stomach khöömii
* {{transliteration|mn|Turlegt, khosmoljin khöömii}} / khöömii combined with [[long song]]

Mongolians also use many other singing styles such as {{transliteration|mn|karkhiraa}} (literally 'growling') and {{transliteration|mn|isgeree}}.

=== Tuva ===
{{Main|Tuvan throat singing}}
Tuvan overtone singing is practiced in the Republic of [[Tuva]] (southern Siberia, Russia).

The Tuvan way of singing overtones is based on appreciation of complex sounds with multiple layers or textures, which is how the Tuvans developed a wide range of rhythmic and melodic styles during the centuries. Most of the styles are sung with {{transliteration|tyv|korekteer}} ({{transliteration|tyv|korek}} 'chest' + {{transliteration|tyv|teer}} 'sing'), literally 'to sing with chest voice'. Styles include:
* {{transliteration|tyv|Khöömei}}
* {{transliteration|tyv|Sygyt}}
* {{transliteration|tyv|Kargyraa}} (which also uses a second sound source made by false vocal folds. This technique is called "false-folds-diplophony")

Other sub-styles include:
* {{transliteration|tyv|Borbangnadyr}},
* {{transliteration|tyv|Chylandyk}},
* {{transliteration|tyv|Dumchuktaar}},
* {{transliteration|tyv|Ezengileer}}.
* {{transliteration|tyv|Byrlang}} (a unique type of vibrato, mainly applied to khöömei and kargyraa styles)

The melodies are traditionally created by using the 6th, 8th, 9th, 10th, 12th, 13th and sometimes the 16th [[harmonic]]s, which form the major [[pentatonic scale]], so the 7th and 11th harmonics are carefully skipped.

The most peculiar melody, from Tuvan tradition, is "{{transliteration|tyv|italics=unset|Artii Sayir}}", mostly performed in kargyraa style.{{citation needed|date=August 2020}}

=== Altai and Khakassia ===
Tuva's neighbouring Russian regions, the [[Altai Republic]] to the west and [[Khakassia]] to the northwest, have developed forms of throat singing called kai ({{langx|alt|кай}}, ''qay'') or khai ({{langx|kjh|хай}}, ''xay''). In Altai, this is used mostly for [[epic poetry]] performance, to the instrumental accompaniment of a [[topshur]]. Altai narrators ({{transliteration|alt|[[kai-chi]]}}) perform in kargyraa, khöömei, and sygyt styles, which are similar to those in Tuva. They also have their own style, a very high harmonics, emerging from kargyraa. Variations of kai are:
* {{transliteration|alt|Karkyra}},
* {{transliteration|alt|Sybysky}},
* {{transliteration|alt|Homei}}, and
* {{transliteration|alt|Sygyt}}.
The first well-known kai-chi was Alexei Kalkin.

=== Chukchi Peninsula ===
The [[Chukchi people]] of the [[Chukchi Peninsula]] in the extreme northeast of Russia also practice a form of throat singing.<ref name="mustrad1">{{cite web|last= Deschênes |first=Bruno |date=2002-03-04 |url=http://www.mustrad.org.uk/articles/inuit.htm |title=Inuit Throat-Singing |publisher=Mustrad.org.uk |access-date=2008-11-27}}</ref>

=== Tibet ===
[[Tibet]]an [[Buddhist chant]]ing is a subgenre of throat singing, mainly practiced by monks of Tibet, including Khokhonor ([[Qinghai]]) province in the [[Tibetan plateau]] area, Tibetan monks of [[Nepal]], [[Bhutan]], [[India]], and various locations in the [[Himalayas|Himalayan]] region. Most often the chants hold to the lower pitches possible in throat singing. Various ceremonies and prayers call for throat singing in [[Tibetan Buddhism]], often with more than one monk chanting at a time.
There are different Tibetan throat singing styles, such as Gyuke ({{langx|bo|རྒྱུད་སྐད་}} [[Wylie transliteration|Wylie]]: {{transliteration|bo|rgyud skad}}), which uses the lowest pitch of voice; Dzoke ({{lang|bo|མཛོ་སྐད་}} {{transliteration|bo|mdzo skad}}); and Gyer ({{lang|bo|གྱེར་}} {{transliteration|bo|gyer}}).

===Uzbekistan and Kazakhstan===
The poet-musicians of Kazakhstan and the Uzbek region of [[Karakalpakstan]], known as {{transliteration|kaa|zhirau}}, employ throat singing in their epic poetry recitations, accompanied by the [[dombra]].<ref>{{cite journal|last=Margarethe|first=Adams|title=The Fiddle's Voice: Timbre, Musical Learning, and Collaborative Ethnography in Central and Inner Asia|journal=Collaborative Anthropologies|volume=6|issue=1|pages=149–169|date=2013|publisher=University of Nebraska Press|doi=10.1353/cla.2013.0010|s2cid=191364601 }}</ref> {{transliteration|kaa|Zhirau}} singers believe that the ability to throat-sing is an innate gift of selected Kazakhs, and that it cannot be taught.

Besides zhirau, there is another form of throat singing called "Kömeimen än aituw (Көмеймен ән айту)" in Kazakhstan. This technique is similar to throat singing in [[Altai Republic]]. The Kömeimen än aituw is now being revived by famous Kazakh ethno-folk musical bands HasSak and [[Turan ensemble|Turan Ensemble]], after Kazakhs believed that this form of throat singing might have been died out because of Russian conquest or rarely practiced or didn't know them at all due to lack of documentings of this practice.

===Pakistan, Iran and Afghanistan===
[[Balochi Nur Sur]] is one of the ancient forms of overtone singing and is still popular in parts of Pakistan, Iran, and Afghanistan – especially in the [[Sulaiman Mountains]].{{Citation needed|date=November 2017}}

=== Kurdistan ===
[[Dengbêj]], the Kurdish-Yazidi style of bardic chanting, often incorporates overtones as part of the chant, and in a way which is distinct from other forms of overtone singing. There is an article 'Dengbêj - Kurdish long song and overtone singing' by Nick Hobbs in 2020 where he discusses the use of overtones in dengbêj in some detail. Dengbêj is largely a traditional style of Turkish Kurdistan and practitioners are mostly Anatolian. Dengbêj singers often also sing Kurdish folk song but overtones can rarely be heard in Kurdish traditional music outside of dengbêj.