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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.
01. Altain Magtaal
02. Setgeld Shingesen Gov
03. Uyakhan Zambativiin Nar
04. Temeen Teshee
05. Tomor Khuur, Xoomii
06. Yantaivan Googoo
07. Tsagaan Sar, Khokh Torgom Tsamts
08. Khoomii
09. Morin Tovorgoon
10. Gandii Mod, Khotgoidyn Unaga
11. Sartai Khurnii Khatiraa
12. Sunjiidmaa
13. Jalam Khar
14. Kherlengiin Bariyaa
15. Khuren Mor'
16. Jiijuu Khot
17. Ardyn Duuny Nairuulga
18. Khavryn Shuvuud Irlee
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.
Link
pass: bluesmen-worldmusic.blogspot.com
