How to Throat Sing (Tuvan, Mongolian, Overtone)

Throat singing is one of the most distinctive vocal techniques in the world, producing two or more pitches from a single voice simultaneously. It sounds impossible when you first hear it, but the specific technique is trainable through specific practice. Below is the working guide: what throat singing actually is, the specific traditional styles, how to start learning, and how to practice safely without straining your voice.

What throat singing actually is

Throat singing (also called overtone singing, harmonic singing, or khoomei) is the specific vocal technique of producing multiple pitches at once. The lower pitch is the fundamental (the main note you hear). The higher pitches are overtones or harmonics (specific higher frequencies that are always present in every human voice but are usually not heard distinctly). By specifically shaping the mouth and vocal tract, throat singers amplify specific overtones so listeners hear them as separate notes above the fundamental.

Every voice contains these overtones naturally; throat singing is the specific technique of making them audible. The physics is real and well-studied. The technique is teachable to almost anyone with patient practice.

The main traditional throat singing styles

Tuvan throat singing (khoomei)

From the Tuva Republic in Central Asia (part of Russia today, near Mongolia). The most famous and widely taught tradition. Khoomei is both the general name for Tuvan throat singing and one specific style within it. Substyles include:

• Khoomei: the base style, moderate overtones over a sustained fundamental.
• Sygyt: whistle-like overtones that sound like flutes above the fundamental. Often the most striking to first-time listeners.
• Kargyraa: very low fundamental (subharmonic) with overtones above. Sounds cavernous and deep.
• Ezenggileer: rhythmic style imitating horse hoofbeats.
• Borbannadyr: rapid rhythmic style.

Mongolian throat singing (khoomii)

Closely related to Tuvan, with substyles including kharkiraa (deep style similar to kargyraa) and isgeree khoomii (whistle style similar to sygyt). Recognised by UNESCO as intangible cultural heritage.

Inuit throat singing (katajjaq)

Very different tradition from an entirely different geographic and cultural region. Practiced by Inuit women (traditionally), performed as a duet where two singers face each other and produce rhythmic sounds that interlock. Not overtone-based like Tuvan and Mongolian styles.

Tibetan throat chanting

Buddhist monastic tradition. Deep, resonant chanting used in religious practice. Different mechanics than Tuvan overtone singing but often included in throat singing discussions because of the specific low vocal quality.

South African throat singing (Xhosa)

The Xhosa people of South Africa practice a specific overtone singing tradition, particularly the songs of Umngqokolo. Historically overlooked in Western throat singing discussions.

Where to start: basic khoomei technique

The basic Tuvan khoomei style is the most accessible starting point for beginners because there are more resources and instructors available in Western countries.

Step 1: Produce a low sustained tone

Sit or stand with aligned posture. Take a comfortable breath. Sing a low sustained "oo" sound at a comfortable pitch. Not the lowest note you can hit; a comfortable low. Sustain for 10-20 seconds with steady breath support. This is your fundamental.

Step 2: Add a low resonance chamber

As you sustain the "oo", slightly lower your larynx (feels like a small yawn or a slightly deeper voice). Do not push or strain. This adjustment creates a richer sound with more overtones naturally present.

Step 3: Move the tongue to shape overtones

This is the specific technique that makes throat singing possible. While sustaining the low tone, slowly move your tongue forward and back inside your mouth. As the tongue moves, you should start to hear a subtle higher tone shifting above the fundamental. That higher tone is a specific overtone becoming audible.

Try shaping the mouth as if saying different vowels ("oo", "oh", "ah", "eh", "ee") while sustaining the low tone. Each vowel shape amplifies different overtones, producing different higher pitches above the fundamental.

Step 4: Isolate the overtone

Once you can hear the overtones shifting as you shape your mouth, work on making the overtone louder and more distinct. This takes weeks. Focus on:

• Cupped hand near mouth (helps you hear your own overtones)
• Practicing in a resonant space (bathroom, tiled room) where overtones echo back
• Recording yourself to hear overtones more clearly on playback
• Slow experimentation with different mouth shapes

Common mistakes when learning throat singing

Straining or forcing: the single most damaging mistake. Throat singing should feel almost easy once the specific technique is understood. If it hurts or feels tight, stop and rest. Real practitioners consistently emphasize that throat singing is done with a relaxed, released throat.

Trying to jump to sygyt (whistle style) too fast: sygyt is the most striking Tuvan style but requires the specific khoomei foundation first. Beginners who skip ahead usually strain and get frustrated.

Practicing too long: throat singing is more demanding on the vocal folds than regular singing. Start with 5-10 minute sessions. Build to 20 minutes over months. Beyond that, rest.

Ignoring cultural context: throat singing carries specific cultural significance to the traditions it comes from. Learning the specific history and cultural background alongside the technique is part of respectful practice.

Health and safety considerations

Throat singing done correctly is not harmful to the voice. Throat singing done with strain, tension, or pushing can cause the same vocal fold injuries as any other misused vocal technique. If you experience: pain during or after practice, persistent hoarseness, vocal fatigue that lasts, or any voice changes that concern you, stop practicing and consult a voice specialist.

Kargyraa (the low subharmonic style) puts more stress on the vocal folds than khoomei style and should be approached carefully with proper technique. Learning specifically from experienced practitioners rather than only online tutorials is recommended for kargyraa.

Learning resources

Instructors: Tuvan and Mongolian throat singers tour internationally and teach workshops. Also online instructors specifically teaching Tuvan style. Alash Ensemble, Huun-Huur-Tu, and others have historically offered specific instructional content.

Books and courses: Steve Sklar's throat singing course has been a widely-used resource. Multiple academic studies exist on the acoustic physics of throat singing.

Communities: online overtone singing communities share techniques, discuss cultural context, and organize workshops.

How long throat singing takes to develop

Basic overtone awareness (hearing your own overtones shifting as you shape mouth): 1-4 weeks. Distinct audible overtones over a sustained fundamental (basic khoomei): 4-8 weeks of daily practice. Distinct melodic overtone singing (playing melodies with overtones): 3-12 months. Sygyt (whistle style) fluency: 1-3 years. Kargyraa (subharmonic deep style) safely: 1-3 years with instruction. Full mastery of specific tradition: many years alongside cultural immersion.

How to practice safely and consistently

Ten to twenty minutes daily. Warm up your regular voice first (5 minutes of humming and lip trills) before throat singing. Record yourself to track progress and hear overtones you cannot detect in the moment. Stop immediately if you feel any strain. Take at least one day per week entirely off throat singing practice (though you can still sing normally). Drink water throughout practice.

Where throat singers find the specific audience that appreciates the craft

Throat singing has a specific dedicated audience globally that appreciates the specific technique and cultural heritage. On community based platforms, where reach is earned through voted, deliberate audience backing rather than opaque feed decisions, throat singers find the specific listeners who genuinely appreciate the specific practice. Cracy is built for this shape.

Read next: how to sing, singing techniques, vocal warm-ups for singers, and how to find your vocal range.