Le Chant
des Steppes by Talyn Duulal (group) Label Bleu LBLC 2523 (released 1995)
Another CD to show the Talents of Khöömii singer
Ganbold. He performs four styles of Khöömii on five tracks including simultaneously
playing the Tömör Khuur (jaw’s harp) and Khöömii! There is some great female
long and short song singing. The rest of the CD features traditional and “composed
contemporary traditional” instrumentals played on the Morin Khuur, Yatag. and Yoochin.
1. Altain Magtall
(3.46) The Altai is both the name given to the great mountainous chain of the
West, as well as to the Master‑Spirit who reigns over this immense place.
It is important to address him a pastoral praise full of admiration in his honour,
so that he may deign to grant prey to
unlucky hunters
2. Setgeld Shingesen Gov (6.09) (The Gobi
Has Absorbed My Thoughts). The beauty of the Gobi Desert in southern Mongolia ‑
with its mountains, its steppe, its sand dunes, its colours ‑ is the
focus of this pastoral praise.
3. Uyakhan Zambativiin Nar (3.54) As a
message of universal peace, this song is a reminder that all of humanity lives
under the same sun
4. Temeen Teshee (3.01) (The Running of the
Camel). The different gaits of the horses and camels often constitute a source
of inspiration for musical pieces with sprightly rhythms. Living mostly in the
southern plains and on the western plateaus, the camel, which begins to run
offers the musician a superb pretext for a musical composition based on its gait
and its characteristic tears.
5. Tomor Khuur, Xoomii (2.48) (Variation
with harp and diaphonic chants). The diaphonic vocal techniques in Mongolia
come from the Altai Mountains, as does the playing of the iron harp. In the
diaphonic chants, the singer emits at the same time a vocal humming and a
laryngeal whistling. It is said that this type of singing was inspired by the
sound produced by nature, such as the wind of the steppe, the rushing of the
mountains' rivers, the birds' songs. The playing becomes more complex as the
musician adds to the harp different styles of diaphonic chants.
6. Yantaivan Googoo (2.16) (The Beautiful
Yantaivan). In the past, before the spouses met, the issue of the dowry to the
future daughter‑in law's family had to be settled. In the meantime, they
dreamt of one other by picturing each other in their thoughts.
7. Tsagaan Sar, Khokh Torgom Tsamts
(2.47) (The White Month, followed by The Blue Silk Shirt). Two melodies of
popular songs are linked here, with themes dear in the hearts of Mongolians: ‑a)
The period surrounding the New Year, called “the White Month” because of the
major consummation of “white food” (dairy products and sheep's tail) at this
time; ‑b) Silk, coming from the cities, a valuable and honorary gift that
is offered to fiancees.
8. Khoomi (3.43) (Diaphonic chants)
Accompanying himself with the Ekhil viol, the singer presents four types of
diaphonic chants, in free progression: Khargiralt (“in the manner of the black
crane”), Bagalzauurlin (“of the throat”), Tseejnii (“of the chest”), Khamriiu
(“of the nose”).
9. Morin Tovorgoon (2.55) (The Horse's
Gallop). With an evocation of the great spaces of the infinite steppe, the
instrumentalist sets about imitating the different gaits of his horse as well
as its whinnying.
10. Gandii Mod, Khotgoidyn Unaga (3.30) (Birchwood, the Khotgoid Foal). Two melodies of very well‑known songs come together in this piece. The first has as its theme the love of a mother who waits impatiently for the return of her child. The second venerates all the qualities of an exceptional foal, winner of all the races, and who is the pride of his owner.
11. Sartai Khurni Khatiraa (1.57) (The
Rapid Trot of the Brown Horse with the White Frontal Star). This musical
evocation, with a specific rhythm of the rapid trot of the horse's gait, helps
to highlight the unique playing of this instrument, where the left hand subtly
modulates the strings being plucked by the right hand.
12. Sunjidmaa (4.22) (the name of a young
woman). How to separate after having been promised to one another since
childhood? This song, tinged with nostalgia, expresses this feeling of
heartbreak experienced by lovers when they must leave each other at the
crossroads of their lives.
13. Jalam Khar (2.24) (The Black
Messenger). Among the long distance horse races organized in July across the
country, the one which regroups the ambling horses is particularly appreciated.
In fact, the horse that ambles naturally is the preferred horse of the
Mongolians, who must travel in the steppe. Its gait comfortably cradles the
rider. This is the reason why it has become one of the very popular themes in
the musical repertory of the Morin Khuur
14. Kherleng1iin Bariyaa (3.17) The
melody of a very popular long chant about the picturesque landscape afforded by
the Kherelin in the west‑centre region of Mongolia. A young woman, seated
in contemplation of the meanderings of the river, thinks of her older brother
who is far away.
15. Khuren Mor' (2.18) (The Brown Horse)
This song's theme is widely known among the Zakhtchin Mongolians who live in
the West. The love felt for his horse is paralleled with that of nature, his
best friend and his loved one.
16. Jiijuu Khot (2.37) Originating in the
plains of Inner Mongolia, in China, this song relates the story of a beautiful
young woman who sings exquisitely while working on her sewing. She recalls a
good young man whom she met in the past.
17. Ardyn Duuny Nairuulga (3.10)
(Composition with Popular Melodies). Often, the professional musicians like to
compose by combining several melodies from popular songs; this allows, among
other things, to reveal in a relatively short amount of time the many facets of
the high level of mastery needed to play the instrument.
18. Khavryn Shuvuud Irlee (4.22) The
return of the migrating birds announces the end of winter and spring's rebirth.
All of nature is in celebration and joy warms the heart.
Alain Desjacques. March 1995.
Return to
Mongolian CD main page
Taravjavyn Ganbold Diaphonic chant. He
was a student of the great master Sundui
Batchulunii Sarantuya Long chant and
short chant. She was a student of the diva Norovbanzad.
Dashjaviin Tsogbadrakh Horse‑Viol .
Former student of the virtuoso Jamyan.
Tserendondoviin Tserenkhorloo Oblong
Cithara . One of the best citharists of the moment.
Gombliin Nansalmaa Trapezoid Cithara.
Recently received the high distinction of Best Musician of “1994” from the
Mongolian Ministry of culture.
The group Talyn‑Duulal brings together top‑level
Mongolian professional artists who have already been awarded great national and
international distinctions. These artists live for the most part in the capital
Oulan Bator, but have emerged from extremely diverse regions. Their repertory
consists essentially of chants and popular music taken from all across the
country, as well as personalized adaptations and compositions, in the
traditional style, by contemporary composers. The music that they propose for
our listening pleasure is representative of a movement that could be called
"new traditional music". This music ushers forth a revival of the
already extremely ancient musical tradition. Through this music the soul of the
Mongolian people is reflected: nomadic pastors who live in perfect symbiosis
with nature and domestics animals. The different gaits of the horses and camels
offer a source of rhythmic musical inspiration, while the contemplation of the
magnificent landscapes releases profound internal emotions, images of a simple
and pastoral life.
The Mongolian Voices
All
throughout its evolution, Mongolian music has conceded a large place to the
voice, as testify the countless number of songs, the diversity of vocal types
and the particularity of the vocal techniques employed. The songs are often,
but not necessarily, accompanied by one of several musical instruments.
Diaphonic Chants ‑
Khoomi
This vocal acrobatics consists in the emitting
of a hum from which a harmonic line will rise to constitute the melody of the
piece. Few Mongolians know how to do
this, but one finds examples in their neighbours of Touva. Depending on the
vocal or facial resonators selected, different aspects of diaphonic chants are
brought out : that of “the throat”,
“the nose”, “The chest” ... The
position of the tongue plays an important role in the selection of the harmonies.
The Khailaka
Emission
Close to
the diaphonic chants, this vocal technique employs a husky tone, coming from
the back of the throat, in a low‑pitched register. It is exclusively
reserved for epic songs and the song of praise to the Altai. Often, the singers
combine the diaphonic chants starting from this emission that uses few degrees
in a recitative mode.
Urtyn Duu
‑ Long Chant
This kind of singing offers long ornamental and
vocal developments with large intervals. A large range is absolutely necessary
to perform the long chant, which can extend into more than three octaves, with
frequent passages into the head voice. The songs' texts serve in a way as a
pretext for the long vocal ornamentations that develop from a few syllables of
words.
Bogino Duu
‑ Short Chant
In contrast to the long chant, the short chant
is syllabic: this means that each syllable corresponds to a degree (or note);
this does not exclude embellishments in places. The rhythm plays an important
part and the text becomes primordial.
The Musical Instruments
The Horse‑Viol
Morin‑Khuur
The principal instrument of the Mongols, the
Morin‑Khuur accompanies song and dance. According to the legend, this
instrument is said to come from a magic horse who died a tragic death. That is
the reason why, in his memory, the neck ends with a horse head. The resonating
chamber, in trapezoid shape, once covered with skin, is today made with a
wooden sounding board, pierced with two sound holes. The two strings are made
of strands of horsehair.
The Viol Ekhil
Widely used only in the mountainous region of
the Altai, in the West, the viol Ekhil (litt.“superior language”) accompanies
dance, but also the diaphonic chants. Of an older construction than the Morin‑Khuur,
the viol Ekhil resembles it in its trapezoid form and its resonating chamber.
The strings, made of horses hair strands, are here inverted and tuned in
fifths.
The Harp Tomor‑Khuur
This
iron harp is played in the western region of Mongolia. Played cliaphonically,
it participates in the songs of praise to the Altai and in a recent union with
the diaphonic chants. Its repertory is composed principally of melodies from
popular songs.
The Oblong Cithara
Yatga
This instrument is a member of the great family
of Asian citharas which includes the Japanese Koto, the Korean Kayageum, the
Chinese Tcheng, the Vietnamese Dan Tranh, etc... When the Yatga is played in
solo, its repertory consists primarily of adaptations of melodies of popular
songs. The Mongols, who abandoned the fabrication of this instrument for an
extended period of time, play Kayageum citharas imported from Korea.
The Trapezoid Cithara
Yootchin
A linguistic variation of the Chinese term Yang Ch'in (litt.“overseas cithara”), the Yootchin, in trapezoid form, is of foreign origin, probably from the Middle East. The metallic strings are tripled and cross Over 3 two rows of small bridges; they are struck with light and flexible felt‑covered hammers Tsoshiur.