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</style><div role="note" class="hatnote navigation-not-searchable">Not to be confused with <a href="Inuit_throat_singing" title="Inuit throat singing">Inuit throat singing</a> or <a href="Rekuhkara" title="Rekuhkara">Rekuhkara</a> (Ainu throat singing). More broadly, see <a href="Throat_singing" title="Throat singing">Throat singing</a>.</div>

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<p><b>Overtone singing</b>, also known as <b>overtone chanting</b>, <b>harmonic singing</b>, <b>polyphonic overtone singing</b>, or <b>diphonic singing</b>, is a set of singing techniques in which the vocalist manipulates the <a href="Resonance" title="Resonance">resonances</a> of the vocal tract to arouse the perception of additional separate notes beyond the fundamental frequency that is being produced.

</p><p>From a fundamental pitch, made by the human voice, the belonging <a href="Harmonic" title="Harmonic">harmonic</a> <a href="Overtone" title="Overtone">overtones</a> can be selectively amplified by changing the <a href="Vocal_tract" title="Vocal tract">vocal tract</a>: the dimensions and the shape of the resonant cavities of the mouth and the <a href="Human_pharynx" class="mw-redirect" title="Human pharynx">pharynx</a>.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> That resonant tuning allows singers to create more than one pitch at the same time (the fundamental and one or more selected overtones) and usually generates a single fundamental frequency with their vocal folds.

</p><p>Overtone singing should not be confused with <a href="Throat_singing" title="Throat singing">throat singing</a>, although many throat singing techniques include overtone singing. As mentioned, overtone singing involves the careful manipulations of the <a href="Vocal_tract" title="Vocal tract">vocal tract</a>, and throat singing is mostly related to the voice source.

</p>

<div class="mw-heading mw-heading3"><h3 id="Mongolia_and_Buryatia">Mongolia and Buryatia</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Music_of_Mongolia#Overtone_singing" title="Music of Mongolia">Music of Mongolia § Overtone singing</a></div>

<p>It is thought that the art of overtone singing originated in southwestern <a href="Mongolia" title="Mongolia">Mongolia</a> in today's <a href="Khovd_Province" title="Khovd Province">Khovd Province</a> and <a href="Govi-Altai_Province" title="Govi-Altai Province">Govi Altai</a> region. Nowadays, overtone singing is found throughout the country and Mongolia is often considered the most active center of overtone singing in the world.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> The most commonly practiced style, called <span title="Mongolian-language romanization"><i lang="mn-Latn">khöömii</i></span> (<a href="Mongolian_Cyrillic_alphabet" title="Mongolian Cyrillic alphabet">Cyrillic</a>: <span title="Mongolian-language text"><span lang="mn">хөөмий</span></span>), can be divided up into the following categories:

</p>

<ul><li><span title="Mongolian-language romanization"><i lang="mn-Latn">Uruulyn</i></span> / labial khöömii</li>

<li><span title="Mongolian-language romanization"><i lang="mn-Latn">Tagnain</i></span> / palatal khöömii</li>

<li><span title="Mongolian-language romanization"><i lang="mn-Latn">Khamryn</i></span> / nasal khöömii</li>

<li><span title="Mongolian-language romanization"><i lang="mn-Latn">Bagalzuuryn, khooloin</i></span> / glottal, throat khöömii</li>

<li><span title="Mongolian-language romanization"><i lang="mn-Latn">Tseejiin khondiin, khevliin</i></span> / chest cavity, stomach khöömii</li>

<li><span title="Mongolian-language romanization"><i lang="mn-Latn">Turlegt, khosmoljin khöömii</i></span> / khöömii combined with <a href="Long_song" title="Long song">long song</a></li></ul>

<p>Mongolians also use many other singing styles such as <span title="Mongolian-language romanization"><i lang="mn-Latn">karkhiraa</i></span> (literally 'growling') and <span title="Mongolian-language romanization"><i lang="mn-Latn">isgeree</i></span>.

</p>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Tuvan_throat_singing" title="Tuvan throat singing">Tuvan throat singing</a></div>

<p>Tuvan overtone singing is practiced in the Republic of <a href="Tuva" title="Tuva">Tuva</a> (southern Siberia, Russia).

</p><p>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 <span title="Tuvan-language romanization"><i lang="tyv-Latn">korekteer</i></span> (<span title="Tuvan-language romanization"><i lang="tyv-Latn">korek</i></span> 'chest' + <span title="Tuvan-language romanization"><i lang="tyv-Latn">teer</i></span> 'sing'), literally 'to sing with chest voice'. Styles include:

</p>

<ul><li><span title="Tuvan-language romanization"><i lang="tyv-Latn">Khöömei</i></span></li>

<li><span title="Tuvan-language romanization"><i lang="tyv-Latn">Sygyt</i></span></li>

<li><span title="Tuvan-language romanization"><i lang="tyv-Latn">Kargyraa</i></span> (which also uses a second sound source made by false vocal folds. This technique is called "false-folds-diplophony")</li></ul>

<p>Other sub-styles include:

</p>

<ul><li><span title="Tuvan-language romanization"><i lang="tyv-Latn">Borbangnadyr</i></span>,</li>

<li><span title="Tuvan-language romanization"><i lang="tyv-Latn">Chylandyk</i></span>,</li>

<li><span title="Tuvan-language romanization"><i lang="tyv-Latn">Dumchuktaar</i></span>,</li>

<li><span title="Tuvan-language romanization"><i lang="tyv-Latn">Ezengileer</i></span>.</li>

<li><span title="Tuvan-language romanization"><i lang="tyv-Latn">Byrlang</i></span> (a unique type of vibrato, mainly applied to khöömei and kargyraa styles)</li></ul>

<p>The melodies are traditionally created by using the 6th, 8th, 9th, 10th, 12th, 13th and sometimes the 16th <a href="Harmonic" title="Harmonic">harmonics</a>, which form the major <a href="Pentatonic_scale" title="Pentatonic scale">pentatonic scale</a>, so the 7th and 11th harmonics are carefully skipped.

</p><p>The most peculiar melody, from Tuvan tradition, is "<span title="Tuvan-language romanization"><span style="font-style: inherit" lang="tyv-Latn">Artii Sayir</span></span>", mostly performed in kargyraa style.

</p>

<div class="mw-heading mw-heading3"><h3 id="Altai_and_Khakassia">Altai and Khakassia</h3></div>

<p>Tuva's neighbouring Russian regions, the <a href="Altai_Republic" title="Altai Republic">Altai Republic</a> to the west and <a href="Khakassia" title="Khakassia">Khakassia</a> to the northwest, have developed forms of throat singing called kai (<a href="Altay_language" class="mw-redirect" title="Altay language">Altay</a>: <span lang="alt">кай</span>, <i>qay</i>) or khai (<a href="Khakas_language" title="Khakas language">Khakas</a>: <span lang="kjh">хай</span>, <i>xay</i>). In Altai, this is used mostly for <a href="Epic_poetry" title="Epic poetry">epic poetry</a> performance, to the instrumental accompaniment of a <a href="Topshur" class="mw-redirect" title="Topshur">topshur</a>. Altai narrators (<span title="Altay-language romanization"><i lang="alt-Latn"><a href="Kai-chi" class="mw-redirect" title="Kai-chi">kai-chi</a></i></span>) 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:

</p>

<ul><li><span title="Altay-language romanization"><i lang="alt-Latn">Karkyra</i></span>,</li>

<li><span title="Altay-language romanization"><i lang="alt-Latn">Sybysky</i></span>,</li>

<li><span title="Altay-language romanization"><i lang="alt-Latn">Homei</i></span>, and</li>

<li><span title="Altay-language romanization"><i lang="alt-Latn">Sygyt</i></span>.</li></ul>

<p>The first well-known kai-chi was Alexei Kalkin.

</p>

<div class="mw-heading mw-heading3"><h3 id="Chukchi_Peninsula">Chukchi Peninsula</h3></div>

<p>The <a href="Chukchi_people" title="Chukchi people">Chukchi people</a> of the <a href="Chukchi_Peninsula" title="Chukchi Peninsula">Chukchi Peninsula</a> in the extreme northeast of Russia also practice a form of throat singing.<sup id="cite_ref-mustrad1_4-0" class="reference"><a href="#cite_note-mustrad1-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading3"><h3 id="Tibet">Tibet</h3></div>

<p><a href="Tibet" title="Tibet">Tibetan</a> <a href="Buddhist_chant" class="mw-redirect" title="Buddhist chant">Buddhist chanting</a> is a subgenre of throat singing, mainly practiced by monks of Tibet, including Khokhonor (<a href="Qinghai" title="Qinghai">Qinghai</a>) province in the <a href="Tibetan_plateau" class="mw-redirect" title="Tibetan plateau">Tibetan plateau</a> area, Tibetan monks of <a href="Nepal" title="Nepal">Nepal</a>, <a href="Bhutan" title="Bhutan">Bhutan</a>, <a href="India" title="India">India</a>, and various locations in the <a href="Himalayas" title="Himalayas">Himalayan</a> region. Most often the chants hold to the lower pitches possible in throat singing. Various ceremonies and prayers call for throat singing in <a href="Tibetan_Buddhism" title="Tibetan Buddhism">Tibetan Buddhism</a>, often with more than one monk chanting at a time.

There are different Tibetan throat singing styles, such as Gyuke (<a href="Standard_Tibetan_language" class="mw-redirect" title="Standard Tibetan language">Standard Tibetan</a>: <span lang="bo">རྒྱུད་སྐད་</span> <a href="Wylie_transliteration" title="Wylie transliteration">Wylie</a>: <span title="Standard Tibetan-language romanization"><i lang="bo-Latn">rgyud skad</i></span>), which uses the lowest pitch of voice; Dzoke (<span title="Standard Tibetan-language text"><span lang="bo">མཛོ་སྐད་</span></span> <span title="Standard Tibetan-language romanization"><i lang="bo-Latn">mdzo skad</i></span>); and Gyer (<span title="Standard Tibetan-language text"><span lang="bo">གྱེར་</span></span> <span title="Standard Tibetan-language romanization"><i lang="bo-Latn">gyer</i></span>).

</p>

<div class="mw-heading mw-heading3"><h3 id="Uzbekistan_and_Kazakhstan">Uzbekistan and Kazakhstan</h3></div>

<p>The poet-musicians of Kazakhstan and the Uzbek region of <a href="Karakalpakstan" title="Karakalpakstan">Karakalpakstan</a>, known as <span title="Karakalpak-language romanization"><i lang="kaa-Latn">zhirau</i></span>, employ throat singing in their epic poetry recitations, accompanied by the <a href="Dombra" title="Dombra">dombra</a>.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> <span title="Karakalpak-language romanization"><i lang="kaa-Latn">Zhirau</i></span> singers believe that the ability to throat-sing is an innate gift of selected Kazakhs, and that it cannot be taught.

</p><p>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 <a href="Altai_Republic" title="Altai Republic">Altai Republic</a>. The Kömeimen än aituw is now being revived by famous Kazakh ethno-folk musical bands HasSak and <a href="Turan_ensemble" title="Turan ensemble">Turan Ensemble</a>, 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.

</p>

<div class="mw-heading mw-heading3"><h3 id="Pakistan,_Iran_and_Afghanistan">Pakistan, Iran and Afghanistan</h3></div>

<p>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 <a href="Sulaiman_Mountains" title="Sulaiman Mountains">Sulaiman Mountains</a>.

</p>

<div class="mw-heading mw-heading3"><h3 id="Kurdistan">Kurdistan</h3></div>

<p><a href="Dengb%C3%AAj" title="Dengbêj">Dengbêj</a>, 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.

</p>

<div class="mw-heading mw-heading2"><h2 id="Europe">Europe</h2></div>

<div class="mw-heading mw-heading3"><h3 id="Sardinia">Sardinia</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Cantu_a_tenore" title="Cantu a tenore">Cantu a tenore</a></div>

<p>On the island of <a href="Sardinia" title="Sardinia">Sardinia</a> (<a href="Italy" title="Italy">Italy</a>), especially in the subregion of <a href="Barbagia" title="Barbagia">Barbagia</a>, one of the two different styles of polyphonic singing is marked by the use of throat singing. This kind of choir is called "singing <a href="Tenores" class="mw-redirect" title="Tenores"><i>a tenore</i></a>". The other style, known as <i>cuncordu</i>, does not use throat singing. Cantu a Tenore is practiced by groups of four male singers, each of whom has a distinct role; the <i> 'oche </i> or <i>boche</i> (pronounced <span class="IPA nowrap" lang="und-Latn-fonipa" title="Representation in the International Phonetic Alphabet (IPA)">/oke/</span> or <span class="IPA nowrap" lang="und-Latn-fonipa" title="Representation in the International Phonetic Alphabet (IPA)">/boke/</span>, "voice") is the solo voice, while the <i> mesu 'oche </i> or <i>mesu boche</i> ("half voice"), <i>contra</i> ("against"), and <i>bassu</i> ("bass") – listed in descending pitch order – form a <a href="Choir" title="Choir">chorus</a> (another meaning of <i>tenore</i>). <i>Boche</i> and <i>mesu boche</i> sing in a regular voice, whereas <i>contra</i> and <i>bassu</i> sings with the use of the false vocal folds, just like the Tuvan Khoomei and Kargyraa techniques. In 2005, <a href="Unesco" class="mw-redirect" title="Unesco">Unesco</a> classed the <i>cantu a tenore</i> as an intangible world heritage.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> The most well known groups who perform the singing a Tenore are from Bitti, Orosei, Oniferi, and Neoneli. Each town has usually more than one group, and their name is based on a specific place, or monument, and then their hometown: for example: Tenore Su Remediu(place) de Orosei(Town).

</p>

<div class="mw-heading mw-heading3"><h3 id="Northern_Europe">Northern Europe</h3></div>

<p>The <a href="Sami_people" class="mw-redirect" title="Sami people">Sami people</a> of the northern parts of <a href="Sweden" title="Sweden">Sweden</a>, <a href="Norway" title="Norway">Norway</a>, <a href="Finland" title="Finland">Finland</a>, and the <a href="Kola_Peninsula" title="Kola Peninsula">Kola Peninsula</a> in <a href="Russia" title="Russia">Russia</a> have a singing genre called <a href="Yoik" class="mw-redirect" title="Yoik">yoik</a>. While overtone techniques are not a defining feature of yoik, individuals sometimes utilize overtones in the production of yoik.

</p>

<div class="mw-heading mw-heading3"><h3 id="Bashkortostan">Bashkortostan</h3></div>

<p>The <a href="Bashkirs" title="Bashkirs">Bashkirs</a> of <a href="Bashkortostan" title="Bashkortostan">Bashkortostan</a>, Russia have a style of overtone singing called <i>özläü</i> (sometimes spelled <i>uzlyau</i>; <a href="Bashkir_language" title="Bashkir language">Bashkort</a> <b>Өзләү</b>), which has nearly died out. In addition, Bashkorts also sing uzlyau while playing the <a href="Kurai_(flute)" class="mw-redirect" title="Kurai (flute)">kurai</a> flute, a national instrument. This technique of vocalizing into a <a href="Flute" title="Flute">flute</a> can also be found in <a href="Folk_music" title="Folk music">folk music</a> as far west as the <a href="Balkans" title="Balkans">Balkans</a> and <a href="Hungary" title="Hungary">Hungary</a>.

</p>

<div class="mw-heading mw-heading3"><h3 id="Andalusia">Andalusia</h3></div>

<p>In Flamenco's <a href="Cante_Jondo" class="mw-redirect" title="Cante Jondo">Cante Jondo</a> singers often include overtonal colour at the end of phrases. Perhaps originating as a way of facilitating sustain, and then becoming an appreciated ornamentation in its own right. There are many examples but <a href="Carmen_Linares" title="Carmen Linares">Carmen Linares</a> and <a href="Duquende" title="Duquende">Duquende</a> often incorporate overtones.

</p>

<div class="mw-heading mw-heading2"><h2 id="Africa">Africa</h2></div>

<div class="mw-heading mw-heading3"><h3 id="South_Africa">South Africa</h3></div>

<p>Some <a href="Thembu_people" class="mw-redirect" title="Thembu people">Thembu</a> <a href="Xhosa_people" title="Xhosa people">Xhosa</a> women of <a href="South_Africa" title="South Africa">South Africa</a> have a low, rhythmic style of throat-singing, similar to the Tuvan Kargyraa style, that is called umngqokolo. It is often accompanied by <a href="Call-and-response" class="mw-redirect" title="Call-and-response">call-and-response</a> vocals and complicated poly-rhythms.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading2"><h2 id="Non-traditional_styles">Non-traditional styles</h2></div>

<div class="mw-heading mw-heading3"><h3 id="Canada,_United_States,_and_Europe">Canada, United States, and Europe</h3></div>

<p>The 1920s <a href="Texas" title="Texas">Texan</a> singer of cowboy songs, <a href="Arthur_Miles" title="Arthur Miles">Arthur Miles</a>, independently created a style of overtone singing, similar to sygyt, as a supplement to the normal <a href="Yodelling" class="mw-redirect" title="Yodelling">yodelling</a> of <a href="Country_music" title="Country music">country western music</a>. <a href="Blind_Willie_Johnson" title="Blind Willie Johnson">Blind Willie Johnson</a>, also of Texas, is not a true overtone singer according to <a href="National_Geographic_Society" title="National Geographic Society">National Geographic</a>, but his ability to shift from guttural grunting noises to a soft lullaby is suggestive of the tonal <a href="Timbre" title="Timbre">timbres</a> of overtone singing.<sup id="cite_ref-national-geo_10-0" class="reference"><a href="#cite_note-national-geo-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup>

</p><p>Starting in the 1960s, some musicians in the West either have collaborated with traditional throat singers or ventured into the realm of throat singing and overtone singing, or both. Some made original musical contributions and helped this art rediscover its transcultural universality. As harmonics are universal to all physical sounds, the notion of authenticity is best understood in terms of musical quality. Musicians of note in this genre include <a href="Collegium_Vocale_K%C3%B6ln" title="Collegium Vocale Köln">Collegium Vocale Köln</a> (who first began using this technique in 1968), <a href="Michael_Vetter" title="Michael Vetter">Michael Vetter</a>, Trần Quang Hải, <a href="David_Hykes" title="David Hykes">David Hykes</a>,<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> <a href="Jill_Purce" title="Jill Purce">Jill Purce</a>, Jim Cole, <a href="Ry_Cooder" title="Ry Cooder">Ry Cooder</a>, <a href="Paul_Pena" title="Paul Pena">Paul Pena</a> (mixing the traditional Tuvan style with that of American Blues), Steve Sklar, and <a href="Kiva_(musician)" title="Kiva (musician)">Kiva</a> (specializing in jazz/ world beat genres and composing for overtone choirs). Others include composer Baird Hersey and his group Prana with <a href="Krishna_Das_(singer)" title="Krishna Das (singer)">Krishna Das</a> (overtone singing and Hindu mantra), as well as Canadian songwriter <a href="Nathan_Rogers" title="Nathan Rogers">Nathan Rogers</a>, who has become an adept throat singer and teaches <a href="Tuva" title="Tuva">Tuvan</a> throat singing in <a href="Winnipeg" title="Winnipeg">Winnipeg</a>, <a href="Manitoba" title="Manitoba">Manitoba</a>.

</p><p><a href="Paul_Pena" title="Paul Pena">Paul Pena</a> was featured in the documentary <i><a href="Genghis_Blues" title="Genghis Blues">Genghis Blues</a></i>, which tells the story of his pilgrimage to Tuva to compete in their annual throat singing competition. The film won the documentary award at the 1999 Sundance Film Festival, and was nominated for an Oscar in 2000.

</p><p>Tuvan singer <a href="Sainkho_Namtchylak" title="Sainkho Namtchylak">Sainkho Namtchylak</a> has collaborated with <a href="Free_jazz" title="Free jazz">free jazz</a> musicians such as <a href="Evan_Parker" title="Evan Parker">Evan Parker</a> and <a href="Ned_Rothenberg" title="Ned Rothenberg">Ned Rothenberg</a>. <a href="Lester_Bowie" title="Lester Bowie">Lester Bowie</a> and <a href="Ornette_Coleman" title="Ornette Coleman">Ornette Coleman</a> have worked with the <a href="Tenores_di_Bitti" title="Tenores di Bitti">Tenores di Bitti</a>, and <a href="Eleanor_Hovda" title="Eleanor Hovda">Eleanor Hovda</a> has written a piece using the <a href="Xhosa_people" title="Xhosa people">Xhosa</a> style of singing. <a href="Disc_jockey" title="Disc jockey">DJs</a> and performers of <a href="Electronic_music" title="Electronic music">electronic music</a> like <a href="The_KLF" title="The KLF">The KLF</a> have also merged their music with throat singing, overtone singing, or with the theory of harmonics behind it.

</p><p>Trần Quang Hải, a researcher on overtone singing since 1969 in Paris, France, has published many articles, videos on overtone singing from 1971. His film "The Song of Harmonics" directed by Hugo Zemp in 1989 obtained 4 international prizes in Estonia (1990) France (1990) and Canada (1991).

</p><p>David Hykes, a pioneer in new music, contemplative chant and healing sounds, founded Harmonic Chant in New York in 1975, the year he also founded his legendary group, The Harmonic Choir, considered to be one of the world's pre-eminent overtone ensembles.

</p><p><a rel="nofollow" class="external text" href="https://www.oberton.org">Wolfgang Saus</a>, from Germany, is considered one of the major teachers/performers of "polyphonic overtone singing" in Europe. Formerly trained as a classical baritone, his unique skills make him instantly recognizable. He's also a renowned composer and arranger of polyphonic overtone singing music for solo voice and choirs.

</p><p>A cappella singer <a href="Avi_Kaplan" title="Avi Kaplan">Avi Kaplan</a> also exhibited overtone singing during his group's (<a href="Pentatonix" title="Pentatonix">Pentatonix</a>) performances. He merged throat singing together with a cappella dubstep.

</p><p>The Overtone Choir Spektrum from Prague, Czech Republic, is unique among overtone choirs, particularly because it connects traditional choir singing with overtone techniques. It is the only one of its kind in the Czech Republic, and one of only a few in the world.<a rel="nofollow" class="external autonumber" href="http://www.alikvotnispektrum.cz/en">[2]</a> <a rel="nofollow" class="external autonumber" href="https://www.youtube.com/channel/UCfgjeTDVTcQbUBmhmyiMxfg">[3]</a>

</p><p>MuOM Ecstatic Voices is another unique and peculiar overtone singing choir, as it combines in its own compositions Western overtone singing and Tuvan/Mongolian throat singing techniques (such as kargyraa, khoomei, sygyt, ezengiler, bonbarnadyr, among others). Created in Barcelona in 2008, with 8 singers on average, it has specialised in the creation of overtone polyphonies, (each singer is emitting an overtone) in addition to the polyphony of the fundamentals, creating two distinguishable sound planes.<a rel="nofollow" class="external autonumber" href="https://www.muom.net/en/">[4]</a>

</p><p>Sherden Overtone Choir was founded in 2016 in Sardinia by Ilaria Orefice and Giovanni Bortoluzzi. The choir combines Tuvan Throat Singing Styles with Sardinian Throat singing.

</p><p>Contemporary multi-instrumentalist performer The Suitcase Junket employs a self-taught overtone singing, or throat singing technique in his live and recorded performances.

</p><p>Several contemporary classical composers have incorporated overtone singing into their works. <a href="Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karlheinz Stockhausen</a> was one of the first, with <i><a href="Stimmung" title="Stimmung">Stimmung</a></i> in 1968. Trần Quang Hải (b.1944), a French national of Vietnamese origin, created the composition "Về Nguồn" with the collaboration of Vietnamese composer Nguyễn Văn Tường in 1975, in Paris. "Past Life Melodies" for SATB chorus by Australian composer Sarah Hopkins (b. 1958) also calls for this technique. In <i>Water Passion after St. Matthew</i> by <a href="Tan_Dun" title="Tan Dun">Tan Dun</a>, the soprano and bass soloists sing in a variety of techniques including overtone singing of the Mongolian style.

</p><p>In 2014 German singer <a href="Anna-Maria_Hefele" title="Anna-Maria Hefele">Anna-Maria Hefele</a> went viral on YouTube with her "polyphonic overtone" singing. The <a href="Huffington_Post" class="mw-redirect" title="Huffington Post">Huffington Post</a> has commented on her "amazing ability" and her singing being "utterly bizarre".<sup id="cite_ref-HP_12-0" class="reference"><a href="#cite_note-HP-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> On 10 October 2014, she was number two on The Guardian's Viral Video Chart,<sup id="cite_ref-Guardian_13-0" class="reference"><a href="#cite_note-Guardian-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> with one online video titled <i>Polyphonic Overtone Singing</i>, which features Hefele as she demonstrates and explains overtones. As of February 2023, this video has received more than 20 million views.

</p><p>Istanbul-based British singer Nikolai Galen incorporates overtones into his experimental work. They can be heard on his solo album Emanuel Vigeland, the Black Paintings album Screams and Silence and the Hoca Nasreddin album A Headful of Birds.

</p>

<ul><li><a href="Human_voice" title="Human voice">Human voice</a></li>

<li><a href="List_of_overtone_musicians" title="List of overtone musicians">List of overtone musicians</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2></div>

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<li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Titze 2008; Titze 1994; Pariser & Zimmerman 2004</span>

</li>

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</style><cite id="CITEREFWelchSundberg2002" class="citation cs2">Welch, Graham; Sundberg, Johan (2002), Parncutt; McPherson (eds.), <span class="id-lock-subscription" title="Paid subscription required"><a rel="nofollow" class="external text" href="https://dx.doi.org/10.1093/acprof:oso/9780195138108.003.0016">"Solo Voice"</a></span>, <i>The Science & Psychology of Music Performance</i>, Oxford University Press, pp. <span class="nowrap">252–</span>268, <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Facprof%3Aoso%2F9780195138108.003.0016">10.1093/acprof:oso/9780195138108.003.0016</a>, <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-19-513810-8</bdi><span class="reference-accessdate">, retrieved <span class="nowrap">2021-10-03</span></span></cite></span>

</li>

<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Sklar, 2005</span>

</li>

<li id="cite_note-mustrad1-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-mustrad1_4-0">^</a></b></span> <span class="reference-text"><cite id="CITEREFDeschênes2002" class="citation web cs1">Deschênes, Bruno (2002-03-04). <a rel="nofollow" class="external text" href="http://www.mustrad.org.uk/articles/inuit.htm">"Inuit Throat-Singing"</a>. Mustrad.org.uk<span class="reference-accessdate">. Retrieved <span class="nowrap">2008-11-27</span></span>.</cite></span>

</li>

<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><cite id="CITEREFMargarethe2013" class="citation journal cs1">Margarethe, Adams (2013). "The Fiddle's Voice: Timbre, Musical Learning, and Collaborative Ethnography in Central and Inner Asia". <i>Collaborative Anthropologies</i>. <b>6</b> (1). University of Nebraska Press: <span class="nowrap">149–</span>169. <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1353%2Fcla.2013.0010">10.1353/cla.2013.0010</a>. <a href="S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:191364601">191364601</a>.</cite></span>

</li>

<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Bandinu 2006.</span>

</li>

<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://tranquanghaisworld.blogspot.com/2008/01/dave-dargie-some-recent-developments-in.html">Dr. Dave Dargie "Some recent developments in Xhosa music : activities of the Ngqoko Traditional Xhoa Music Ensemble, and at the University of Fort Hare".</a> Retrieved on 2014-04-23.</span>

</li>

<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=MYj-55T6Uzs">Dr. Dave Dargie "UMNGQOKOLO – Thembu Xhosa – OVERTONE SINGING filmed 1985–1998 in South Africa".</a> Retrieved on 2014-04-23.</span>

</li>

<li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Dargie, Dave. "Xhosa Overtone Singing" The world of South African music: A reader. Cambridge Scholars Press, 2005. 152–155 Google Books Web. 23 Apr. 2014. <a rel="nofollow" class="external autonumber" href="https://books.google.com/books?id=RoKnvlA0xLgC&pg=PA152">[1]</a></span>

</li>

<li id="cite_note-national-geo-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-national-geo_10-0">^</a></b></span> <span class="reference-text"><cite id="CITEREFMiller" class="citation magazine cs1">Miller, Bruce. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120526001818/http://worldmusic.nationalgeographic.com/view/page.basic/genre/content.genre/overtone_singing_763/en_US">"Overtone Singing Music"</a>. <i>National Geographic</i>. Archived from <a rel="nofollow" class="external text" href="http://worldmusic.nationalgeographic.com/view/page.basic/genre/content.genre/overtone_singing_763/en_US">the original</a> on May 26, 2012<span class="reference-accessdate">. Retrieved <span class="nowrap">February 20,</span> 2012</span>.</cite></span>

</li>

<li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Bellamy and MacLean 2005, 515.</span>

</li>

<li id="cite_note-HP-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-HP_12-0">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.huffingtonpost.co.uk/2014/10/07/polyphonic-overtone-singing_n_5944174.html">"German Musician Anna-Maria Hefele Demonstrates Polyphonic Overtone Singing, And It's Amazing"</a>. <i>Huffington Post</i>. 7 October 2014<span class="reference-accessdate">. Retrieved <span class="nowrap">12 October</span> 2014</span>.</cite></span>

</li>

<li id="cite_note-Guardian-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-Guardian_13-0">^</a></b></span> <span class="reference-text"><cite id="CITEREFPerraudin2014" class="citation news cs1">Perraudin, Frances (10 October 2014). <a rel="nofollow" class="external text" href="https://www.theguardian.com/media/2014/oct/10/viral-video-chart-danny-macaskill-kangaroo-boxing-greenpeace-v-lego">"Viral Video Chart"</a>. <i>The Guardian</i><span class="reference-accessdate">. Retrieved <span class="nowrap">12 October</span> 2014</span>.</cite></span>

</li>

</ol></div></div>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

<ul><li>Bandinu, Omar (2006). "<a rel="nofollow" class="external text" href="https://web.archive.org/web/20090306114247/http://www.sitiunesco.it/attach/unesco/docs/siti_5_bandinu.pdf">Il canto a tenore: dai nuraghi all'Unesco</a>", <i>Siti</i> 2, no.3 (July–September): 16–21.</li>

<li>Bellamy, Isabel, and Donald MacLean (2005). <i>Radiant Healing: The Many Paths to Personal Harmony and Planetary Wholeness</i>. Buddina, Queensland (Australia): Joshua Books. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-9756878-5-9</bdi></li>

<li>Haouli, Janete El (2006). <i>Demetrio Stratos: en busca de la voz-música</i>. México, D. F.: Radio Educación – Consejo Nacional para la Cultura y las Artes.</li>

<li><a rel="nofollow" class="external text" href="https://www.ida.liu.se/~robek28/pdf/Hefele_Eklund_McAllister_2019=PolyphonicOvertoneSinging.pdf">Hefele, Eklund & McAllister (2019). "Polyphonic Overtone Singing: An Acoustic and Physiological (MRI) Analysis and a First-person Description of a Unique Mode of Singing". In: Mattias Heldner (ed.): <i>Proceedings from Fonetik 2019, 10–12 June 2019, Stockholm, Sweden. PERILUS XXVII</i></a>, <a href="ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0282-6690">0282-6690</a>, <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-91-7797-984-5</bdi> (print version), <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-91-7797-985-2</bdi> (electronic version), <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.5281%2Fzenodo.3246011">10.5281/zenodo.3246011</a>, pp. 91–96.</li>

<li>Levin, Theodore C., and Michael E. Edgerton (1999). "<a rel="nofollow" class="external text" href="http://www.sciam.com/article.cfm?id=the-throat-singers-of-tuv">The Throat Singers of Tuva</a>". <i>Scientific American</i> 281, no. 3 (September): 80–87.</li>

<li>Levin, Theodore, and <a href="Valentina_Suzukei" title="Valentina Suzukei">Valentina Süzükei</a> (2006). <i>Where Rivers and Mountains Sing</i>. Bloomington: Indiana University Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-253-34715-7</bdi>.</li>

<li>Pariser, David, and Enid Zimmerman (2004). "Learning in the Visual Arts: Characteristics of Gifted and Talented Individuals," in <a rel="nofollow" class="external text" href="https://books.google.com/books?id=gI75pQ7c4nAC&dq=overtone-singing&pg=PA388"><i>Handbook of Research and Policy in Art Education</i></a>, Elliot W. Eisner and Michael D. Day (editors). Lawrence Erlbaum Associates. p. 388. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-8058-4972-1</bdi>.</li>

<li>Saus, Wolfgang (2004). <i>Oberton Singen</i>. Schönau im Odenwald: Traumzeit-Verlag. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>3-933825-36-9</bdi> (German).</li>

<li>Sklar, Steve (2005). "Types of throat singing" "<a rel="nofollow" class="external autonumber" href="http://www.khoomei.com/types.htm">[5]</a>"</li>

<li>Titze, Ingo R. (1994). <i>Principles of Voice Production</i>. Englewood Cliffs, NJ: Prentice Hall. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-13-717893-3</bdi> Reprinted Iowa City: National Center for Voice and Speech, 2000. (NCVS.org) <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-87414-122-1</bdi> .</li>

<li>Titze, Ingo R. (2008). "The Human Instrument". <i>Scientific American</i> 298, no. 1 (July):94–101. PM 18225701</li>

<li>Tongeren, Mark C. van (2002). <i>Overtone Singing: Physics and Metaphysics of Harmonics in East and West</i>. Amsterdam: Fusica. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>90-807163-2-4</bdi> (pbk), <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>90-807163-1-6</bdi> (cloth).</li>

<li>Tran Quang Hai (2018) "50 Years of Research in Vietnamese Traditional Music and Overtone Singing". 462p, Tu Sach Khai Tri, California, USA,<a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-7902-3908-5</bdi></li></ul>

<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

<ul><li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=CG2S0Gsc6HE">Overtone singing used in choir music – Overtone Choir Spektrum & Jan Stanek</a></li>

<li><a rel="nofollow" class="external text" href="http://spectralvoices.com/">Overtone singing in a water tower – Jim Cole & Spectral Voices</a></li>

<li><a rel="nofollow" class="external text" href="http://www.overtone.cc/songs">Audio samples of overtone and throat singing</a></li></ul>

<p><br>

</p>

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</style><div id="Musical_techniques310" style="font-size:114%;margin:0 4em"><a href="Musical_technique" title="Musical technique">Musical techniques</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">General</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Articulation_(music)" title="Articulation (music)">Articulation</a></li>

<li><a href="Bow_(music)" title="Bow (music)">Bowing</a></li>

<li><a href="Damping_(music)" title="Damping (music)">Damping</a></li>

<li><a href="Double_stop" title="Double stop">Double stop</a></li>

<li><a href="Extended_technique" title="Extended technique">Extended technique</a></li>

<li><a href="Fingering_(music)" title="Fingering (music)">Fingering</a></li>

<li><a href="Finger_substitution" title="Finger substitution">Finger substitution</a></li>

<li><a href="Finger_vibrato" title="Finger vibrato">Finger vibrato</a></li>

<li><a href="Glissando" title="Glissando">Glissando</a></li>

<li><a href="Harmonic" title="Harmonic">Harmonics</a></li>

<li><a href="Intonation_(music)" title="Intonation (music)">Intonation</a></li>

<li><a href="Multiphonic" title="Multiphonic">Multiphonic</a></li>

<li><a href="Musical_phrasing" title="Musical phrasing">Phrasing</a></li>

<li><a href="Pizzicato" title="Pizzicato">Pizzicato</a></li>

<li><a href="Position_(music)" title="Position (music)">Position</a></li>

<li><a href="Slapping_(music)" title="Slapping (music)">Slapping</a></li>

<li><a href="Slide_(musical_ornament)" title="Slide (musical ornament)">Slide</a></li>

<li><a href="Stopped_note" title="Stopped note">Stopped note</a></li>

<li><a href="Thumb_position" title="Thumb position">Thumb position</a></li>

<li><a href="Tremolo" title="Tremolo">Tremolo</a></li>

<li><a href="Vibrato" title="Vibrato">Vibrato</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Wind_instrument" title="Wind instrument">Wind instruments</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Saxophone_technique" title="Saxophone technique">Saxophone technique</a></li>

<li><a href="Circular_breathing" title="Circular breathing">Circular breathing</a></li>

<li><a href="Embouchure" title="Embouchure">Embouchure</a></li>

<li><a href="Flutter-tonguing" title="Flutter-tonguing">Flutter-tonguing</a></li>

<li><a href="Growling_(wind_instruments)" title="Growling (wind instruments)">Growling</a></li>

<li><a href="Harmonica_techniques" title="Harmonica techniques">Harmonica technique</a></li>

<li><a href="Overblowing" title="Overblowing">Overblowing</a></li>

<li><a href="Slap_tonguing" title="Slap tonguing">Slap tonguing</a></li>

<li><a href="Split_tone" title="Split tone">Split tone</a></li>

<li><a href="Tonguing" title="Tonguing">Tonguing</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Piano" title="Piano">Piano</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Piano_extended_techniques" title="Piano extended techniques">Piano extended techniques</a></li>

<li><a href="Finger_tapping_(piano)" title="Finger tapping (piano)">Finger tapping</a></li>

<li><a href="Luth%C3%A9al" title="Luthéal">Luthéal</a></li>

<li><a href="Three-hand_effect" title="Three-hand effect">Three-hand technique</a></li>

<li><a href="Prepared_piano" title="Prepared piano">Prepared piano</a></li>

<li><a href="String_piano" title="String piano">String piano</a></li>

<li><a href="Tack_piano" title="Tack piano">Tack piano</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Bowed_string_instrument" title="Bowed string instrument">Bowed string instruments</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Bowed_string_instrument_extended_technique" title="Bowed string instrument extended technique">Bowed string instrument extended technique</a></li>

<li><a href="Violin_technique" title="Violin technique">Violin technique</a></li>

<li><a href="Cello_technique" title="Cello technique">Cello technique</a></li>

<li><a href="Bariolage" title="Bariolage">Bariolage</a></li>

<li><a href="Pizzicato" title="Pizzicato">Pizzicato</a>

<ul><li><a href="Bart%C3%B3k_pizzicato" class="mw-redirect" title="Bartók pizzicato">Bartók pizz.</a></li></ul></li>

<li><a href="Col_legno" title="Col legno">Col legno</a></li>

<li><a href="Free_bowing" title="Free bowing">Free bowing</a></li>

<li><a href="Martel%C3%A9_(bowstroke)" title="Martelé (bowstroke)">Martelé</a></li>

<li><a href="Spiccato" title="Spiccato">Spiccato</a></li>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Guitar" title="Guitar">Guitar</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Downpicking" title="Downpicking">Downpicking</a></li>

<li><a href="Fingerstyle_guitar" title="Fingerstyle guitar">Fingerstyle</a></li>

<li><a href="Flatpicking" title="Flatpicking">Flatpicking</a></li>

<li><a href="Guitar_picking" title="Guitar picking">Picking</a></li>

<li><a href="Hybrid_picking" title="Hybrid picking">Hybrid picking</a></li>

<li><a href="String_bending" title="String bending">String bending</a></li>

<li><a href="Tambour_(guitar_technique)" title="Tambour (guitar technique)">Tambour</a></li>

<li><a href="3rd_bridge" title="3rd bridge">Third bridge</a></li>

<li><a href="Prepared_guitar" title="Prepared guitar">Prepared guitar</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Harp" title="Harp">Harp</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Prepared_harp" title="Prepared harp">Prepared harp</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Percussion_instrument" title="Percussion instrument">Percussion</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Snare_drum_technique" title="Snare drum technique">Snare drum technique</a></li>

<li><a href="Burton_grip" title="Burton grip">Burton grip</a></li>

<li><a href="Cymbal_choke" title="Cymbal choke">Cymbal choke</a></li>

<li><a href="Stevens_grip" title="Stevens grip">Stevens grip</a></li>

<li><a href="Rimshot" title="Rimshot">Rimshot</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Vocal_pedagogy" title="Vocal pedagogy">Human voice</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Extended_vocal_technique" title="Extended vocal technique">Extended vocal technique</a></li>

<li><a href="Beatboxing" title="Beatboxing">Beatboxing</a></li>

<li><a href="Death_growl" title="Death growl">Death growl</a></li>

<li><a href="Screaming_(music)" title="Screaming (music)">Screaming</a></li>

<li><i><a href="Sprechgesang" title="Sprechgesang">Sprechgesang</a></i></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related articles</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="%C3%89tude" title="Étude">Étude</a></li></ul>

</div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div>

<ul><li><span class="noviewer" typeof="mw:File"><span title="Category"></span></span> Category:Musical performance techniques</li></ul>

</div></td></tr></tbody></table></div>

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