Throat (Harmonic) Singing Cont'
					Now I'd like to touch on the low tones a bit. The way I like to approach it is a little different from the Tuvans. Because if you focus on the Tuvan technique of cargura you may have difficulty doing the highs. It develops a different type of tension in the vocal chords. So I like to keep the highs and just touch on the lows.
	In the beginning all you need to do is establish a "frog" which is like the sound you make when you immitate a creeking door. So you find that gentle frog and keep the vibration slow. The idea is that after a while you'll develop more control. You can move that vibration fast or slow. So you want to be able to establish and then sustain the frog tone. Once you get that low subtone, that's your foundation. Then later, once you can sustain it, you add the vowel sound to it. That gives you the rich lows. Eventually when you get the frog you can make it more nasal and get higher overtones. All good things will be built on that foundation if you can establish that control. You can feel your Adam's Apple, for guys. Once you have established the frog, see where your Adam's Apple is. Then move it up a bit, like the Tuvans do, starting with a slightly forced "hur." What's happening is that you have the false or ventricular vocal folds above the vocal chords. The Tuvans tap into both of those. Once you get the frog you can begin to expand it. The Tuvans use slightly more tension in the back. The forced "hur" sound helps lead you into some harmonics. With the right adjustment and the right opening you can get just the right tone. So that's basically it. Just get a solid frog and use the Tuvan "hur" technique to launch into the harmonics. Please visit Arjuna's site to learn about upcoming seminars, performances and CDs of his original harmonic singing. Home