The Chöömij of
Ronald Walcott
SCLECTED REPORTS IN Ethnomusicology Volume II, No. 1 1974
1
CHÖÖMIJ* IS THE MONGOLIAN NAME for a solo style of overtone
singing where two distinct pitch lines are sounded throughout. One, a nasal‑sounding
drone of relatively constant pitch, corresponds to the fundamental; the other,
consisting of piercing, whistle like tones, forms a melody, line above the
drone and results from the reinforcement of individual overtones within the
ambitus of the 5th through 13th partials.
Reinforcement of partials is achieved
by characteristic changes in the shape and volume of the mouth cavity. This is
reminiscent of the principle of the Jew's harp,' where a vibrating tongue
sounded at the lips produces a drone fundamental which the player modifies by
shaping his mouth cavity so as to‑form a resonance chamber of critical
volume. The volume of this chamber, functioning on the principle of a Helmholtz
resonator, reinforces a narrow frequency band area within an existing spectrum.
This band is sufficiently narrow to enable the singer to select a given single
partial above the drone in accordance with the degree of modification made by him.
The principle involving the reinforcement of discrete partials by a specific
shaping of the mouth cavity is thus common to both chöömij and the Jew's
harp. A difference, however, lies in the physical origination of the
fundamental. In the Jew's harp it is produced at the lips, in the chöömij it
originates in the throat region.
The unusual quality of chöömij arouses
special interest. Subjective statements cannot take us very far and we need a
more objective basis for describing it. The Melograph Model C offers a
mechanical approach to a more accurate and precise representation of this
complex vocal phenomenon.
A number of recordings of this style has been made*' and an
analysis of them will appear in a more comprehensive study. I have selected for
detailed melographic analysis the initial phrase of one performance which is
distinguished by the unusually long duration of its ictus, 1.4 seconds. This is
reproduced on Plate 1 and transcribed in figure 1. The phrase of three
descending tones is preceded by a groan like attack. The spectral graph
presents a pattern of equidistant bands, corresponding to frequencies that
remain virtually constant for the duration of the descending phrase. This is,
in fact, true for the entire piece from which this example is drawn. An
equidistant band pattern maintained throughout the changes in the whistle‑tone
pitches suggests (a) that these are generated above a fundamental of constant
pitch; and (b) that they are due to harmonic overtone generation, a predictable
characteristic of wind instruments. Figure 2 shows in staff notation the
approximate partials as they appear in consecutive order above a fundamental 
of about 100 Hz.
Fig. 2. (The‑tolerance of the filter permits only approximate
readings of the frequency values.)
Most important to note here is not the
precise distance between the bands or their absolute frequency value, but
rather (a) the pitch vocabulary of the partials from which the melody tones are
selected, namely the 6th to 13th partials but excluding the 11th; and (b) the general range of the 
fundamental. As concerns the chöömij
style, I would suggest that a physiological limitation prevents the singer from
descending below the 6th or from ascending above the 13th partial if he wishes
to isolate the desired melodic tones with sufficient intensity. The melodic
style would seem to dictate the selection of tones agreeable to an anhemitonic
penta scale widespread in Mongolian music, and this would naturally require the
lowering of the 7th partial from f‑ to e' and the avoidance of the 11th
partial altogether,
Finally, the stable drone fundamental
is in the author's experience invariably selected from within the approximate
range of G‑d,
The reason is that only this range permits the generation of a
corresponding complement of partials that the mouth cavity can effectively
filter.
Chöömij closely resembles borbannadyr, one of four Tuvin overtone
singing styles described by A. N. Aksenov (3) that are largely characterized by
the ranges in which they occur.
P. Crossley‑Holland(4) describes
two styles of overtone chanting cultivated by the Tibetan monasteries of Gyume
and Gyumo that are differentiated from chöömij by their placement in a
somewhere lower range.
We have so far provisionally
established the nature and vocabulary of tones comprising the chöömij style,
the physiological mechanics for their production, their relationship to general
acoustical laws, and their general frequency range. Our attention now turns to
the ictus. In the graph, the ictus is represented as a successive development
and decay of overtones. For reasons to be discussed, it is considered as a
progression toward "normal" sustained chöömij timbre. The graph of
the 1.4‑second‑long period of attack reveals an upward flowing
glissando of overtone emphasis extending across a wide chöömij range, namely
from the fundamental to the 10th partial. This dramatic upswing, accompanied by
a smoother downward resolution of the 12th, 11th, 10th, and 9th partials into
the 9th partial alone, is a composite of varied partial durations and
intensities unfolding in time and resulting in an attack "shape." We
are dealing here with a complex of duration, intensity, overlapping, pitch, and
grouping of partials. Aural perception is not one of an ascending glissando of
individual overtone pitches, but rather of a gradual change of colour during
the ictus from whose 
complex sound emerges the pure,
whistle like b’’ sounding above the drone of G(5) Also, the 16th and 18th
partials (1600 and 1800 Hz) appear at the end of the ictus and remain faintly
present through to the end of the phrase. Our microanalysis, deliberately
scrutinizing a 1.4‑second‑long detail, captures a delicate moment
of vocal timbre which the singer of chöömij must effectively control in order
to establish “normal" sustained chöömij sound. The ictus, representing a
drive toward the sonal norm, isolated here for study, may well prove to be the
key to a precise physiological explanation of this style(6).
Following our description of the ictus
that precedes the unfolding of the melody, we now come to the "normal
chöömij sound" as typified by the descending notes b", a",
g". The spectral configuration of the three descending whistle‑tones
shown by the melogram during the 2.1 seconds following the ictus is here
considered typical and representative of chöömij sound; or, to speak more
objectively, the distinctive "nasal" quality pervading this style
results from the spectral configurations shown by the melogram and presented
schematically in figure 3. These show the sounding areas of the formants in
relation to non sounding areas.
Figure 3 shows three formant areas for
chöömij: (1) the fundamental; (2) the melody area, 6th‑13th partials; and
(3) a higher nasal area that is new to our description for the range of this
style. This third formant lies in the 1500‑1600 Hz range in this excerpt,
and is present as the'16th through 23rd partials in chöömij style generally. We
have made the experiment of eliminating the third.formant, and have found that
this effectively negates the nasal quality so typical of this style.‑ If
the three formant areas in the arrangement presented by figure 3 are considered
an accurate description of chöömij style, it suggests that a spectrum judged to
he nasal has a non sounding "hole" in the area of 900‑1300 Hz.
This further implies a more objective definition of our perception of nasality.
In order to indicate the existence of a nonsounding hole, the range initially
presented in figure 2 (1st through 13th partials) for the chöömij must be
extended to include the area of the 16th through 23rd partials. They exist as a
stable upper drone cluster of tones vital to maintaining the nasal character of
the style and their existence may be a function of physiological necessity. Our
recognition of the "nasal formant” as an integral part of the style thus
provides a further possible clue to its vocal production. Attention to detail
during the sustained tone production may give further insights into this
problem. At the point where the melody descends from the b’’, the dovetailing
of pairs of melodic overtones results in transitional areas where both can be
heard simultaneously,. resulting in the interval of a major second. Further, in
our own experience, the last note g" predominates on first hearing;
however, after an examination of the melogram where the a" is seen to be simultaneously
present, the interval of a major 2nd can be heard 
quite distinctly.
Fig. 3. A stylized diagram of chöömij vocal
sound. The dotted lines refer to the melogram shown in Plate 1 above.
We may have here an indication of the degree of efficiency of
the mouth cavity as a selective overtone filter. It is clear that effective
filter width permits the passing of more than a single partial. The question
then arises: Is a single melody note more likely desired by the human mechanism
unable to produce it? Or, alternatively: Is it correct to end some phrases with
a blend of two partials such that the performer is in fact adhering to a canon
of style?
Further, the two pitches C and g"
are accompanied by a rhythmic accent of the fundamental pitch. This accentuated
accompaniment to melody tones occurs throughout this style. It might reasonably
be anticipated that such accentuation would find some reflection in the
display. Our melogram, however, shows no significant change in overall
dynamics, such as would be typical of a push of air from the diaphragm. On the
contrary, we find this dynamic swelling of the fundamental pitch to correspond
to a strengthening of the 2nd and 3rd partials and, to a lesser degree, of the
5th. In reference to the physiological factors considered above, we could now
ask what process involved in shifts of melodic whistle‑tones necessitates
the emphasis of other partial groups. It must be considered further, however,
whether this accenting is related to an unconscious physiological necessity of
resetting the mouth cavity filter for emphasizing a different melody partial,
or whether it might be a stylistic trait effected by an independent alteration
of the mouth cavity consciously cultivated to accompany and punctuate pitch
change. Or is it both? The answers to these questions necessarily await further
research.
Finally, the overall dynamic graph
peaks during the initial attack and remains unusually stable during the length
of the phrase (8). The stability of this graph during notes of long duration
suggests an ability on the part of the singer to supply constant air pressure
to the vocal mechanism producing the fundamental pitch. This may be another
consciously cultivated feature.
The latter part of this article
emphasizes the relevance of melographic analysis to the physiological processes
of voice production. It would be fascinating to go further and to add computer
facilities. It might then be possible to calculate a progression of mouth and
nasal cavity configuration corresponding with the normal vocal style (9). When
this can be realized, it may well bring a new dimension into the objective
study of musical styles.
NOTES
* chöömij (Hans‑Peter Vietze, Lehrbuch der Mongolischen Sprache [leipzig:
VEB Verlag Enzyklopädie 1969] , pp. 15‑16)
or khöömii (J. E. Bosson, Modern Mongolian [Bloomington: Indiana University, 19641, P. 11) are two possible
transliterations for the Mongolian “xөөmий” which in
Khalkha dialect means pharynx; throat; windpipe (A. Luvsandendev, Mongol’sko‑russkii slovar [Moscow: Gos. Izd‑yo Inostrannych
i Natsional'nych Slovarej, 1957], p.
553). In Classical Mongolian it is written K ØGEMEI, Which means pharnyx; throat (F. Ussing, Mongolian‑English Dictionary [Berkeley:
University of California Press, 1960], p.
479). Aksenov (1964) writes
chöömij and Vargyas (1968) hö‑mi.
1. The comparison of chöömij with the
Jew's harp was suggested by Lajos Vargyas, "Performing Styles in Mongolian
Chant," in
Journal of the International FoLk
Music Council XX (1968), 70‑72.
2. Professor
D. Dinowski of the Ethnology Department,
3. "Die
Stile des tuvinischen zweistimmigen Sologesanges," in Soujetische Volkslied‑und Volksmusik. forschung. Erich
Stockmann, ed.
(Berlin: Akademie Verlag, 1967). Pp. 293‑308.
4. Notes to
the recording, "The Music of Tibet: The Tantric Rituals," Disk AST‑4005,
Peter Crossley‑Holland; acoustical
analysis by Kenneth N. Stevens.
5. This was
investigated through a synthesis of this same excerpt on a generator of sine‑tones
produced through a process using
insulated light. This apparatus was
constructed by Dr. K. Schiigerl, Phonogramm‑archiv,
6. This topic
is under study by Dr. Frank, Laryngologisches InstitiA,
7. This result is based on filtration
experiments carried out with the help of Dr. R. Brandi, Phonogrammarchiv,
8. It is the
opinion of Mr. Michael Moore, based on the perusal of a large number of
melographs, that the dynamic display shows little
fluctuation when compared with other vocal
sty les.
9. Apparatus of this nature already
exists and is being further refined and developed by Dr. P. Ladefoged in the
Phonetics Laboratory at
UCLA.