This Excellently recorded CD features about six or seven tracks with Khöömii. There are three Khöömii singers Ganbold, Yavgaan and Tubsinjargal. There is also some great long song singing, Morin khuur playing and a shanz solo piece at the end.
1 Dörvön Nastai Khaluin/Gooj Nanaa (medley)
Popular songs of the Mongols are here sung with astonishing clarity employing the Höömii technique.
The title of the first song means "The Four‑Year Old Red‑Haired Horse", while in the second piece
Gooj is an official rank and Nanaa is a personal name.
2 Bogd Dunjingarab Uulin Magtaal (Song in Praise of the Sacred Mount Dunjingarab)
The Mongols have a long history of mountain worship. Mount Dunjingarab is one of four peaks
surrounding Ulan Bator. This magtaal belongs to a specific type in praise of this mountain.
3 Altain Magtaal (Eulogy of the Altai Mountain Range)
The great Altai range of mountains is located in the southwest of Mongolia and is capped year long
by snow. With their perpetual snow and frozen rivers, the Altai Mountains have been the objects of
worship since ancient times. They have similarly been the subjects of many beautiful songs of
praise, which have been handed down the generations.
4 Her Huuraar (Her Huur Medley)
This piece depicts the magnificent and beautiful scenery of Mongolia. The jew's harp, or her huur as
it is known in the Mongol language, is the most primitive aerophone employed in traditional
Mongolian music. The instrument is also known by names including aman huur.
5 Mongol Höömiin Holboo Ayalguu (Höömii Medley, 1)
This medley of pieces composed and arranged by the performer is intended to demonstrate the features, types, and techniques employed in the Höömii
6 Höömii Olon Yanzin Ontslogood (Höömii Ensemble)
There are various types of Mongolian Höömii; each singer has his own favourite technique. The three Höömii singers here demonstrate their own
individual methods of voice production.
7 Hoyor Bor (Two Dark Horses)
This song is based on one of the many popular tales known throughout Mongolia concerning well‑built horses. Urtin duu were originally songs of
great length, but they are today generally performed only in part. When performed in such abbreviated versions, the meaning of the text is often
obscure unless listeners are aware of the whole story from which the text is only a short excerpt.
8 Mongol Höömiin Gurban Törö1 (Höömii Medley, 2)
This medley demonstrates the following three Höömii techniques:
i: It involves constricting the throat and projecting the sound from the back of the oral cavity.
ii: In this method, the throat is constricted and sound is emitted from the frame of the throat. This is also known as the “lyrical Höömii”.
iii: This method is named after a mountain. The singer emits a rough, low and complex tone colour by linking the upper part of his body, his nose, and his throat.
9 Morin Huurin Hög (Morin Huur Medley)
In this popular melody, the performer shows how the morin huur is played, demonstrating its features and its extraordinary powers of expression. Employing the varied techniques of the instrument, the piece portrays horses at the gallop.
10 Dörvön Oirdin Uria (The Call of the Four Oirat)
In this song, the morin huur calls for solidarity among the four Oirat tribes who dwell in western Mongolia. The melody, which appears here, beautifully portrays the ceremonies and everyday life of the western Mongols. The original melody is performed here in the traditional tuning.
11 Halh Jonon (Ruler of the Halh)
This piece offers a musical portrayal of the trotting and galloping of horses, the animals that are the source of life for the Mongols.
12 Tsagaan Sar (The New Year)
This lyrical song present a eulogy of the beautiful girl and of the happiness which accompanies the advent of the New Year after the severe winter months. For Mongols dwelling in nomadic and inland districts, wheat and seaweed are foodstuffs of great value. This should be borne in mind when listening to this song.
13 Sankhiyu Göröm
This is a song in praise of horses, which are of course the origin of happiness for all Mongols. The Mongols greatly valued horses that could gallop involving alternate motions of the two right legs then the two left legs, since it allowed riders to ride for many hours without tiring. This song has been enormously popular both in the Republic and in Inner Mongolia.
14 Tumen Eh (Mother of the People)
This is a song in praise of the boundless efforts and enthusiasm of the Mongol people. It is sung in an atmosphere of respect before ceremonies.
15 Erdene Zasgiiin Unaga
This is a didactic song, which tells of the need to love and respect both the wonderful horses, which bring happiness to the abundant and beautiful plains of Mongolia and one's ever‑loving parents.
16 Durtmal Saihan
This song is in praise of the great expanses of nature in the singer's native place. Although on the musical level this is a typical example of the urtin duu in the style of the Halha people who constitute the main segment of the population of the Republic of Mongolia, the text was composed relatively recently. The texts of urtin duu, and in particular those written in recent years, are often obscure in meaning, and any attempt to translate them runs the risk of provoking misunderstandings.
17 Enk Mendiin Bayal
It is a Mongol custom to praise one's homeland and the water and people of one's homeland. This is a song singing of the pleasures of banquets, considering equally important regardless of whether they are small ones celebrated on the family level or large ones held on the national level.
18 Ülgerin Holboo
A holboo is a type of ulger, or long narrative poem sung to music. The present piece was composed for the shanz (also known as the shudraga), and has been preserved through the ages amongst the Mongol people. The main features of shanz performance are the display of virtuosic technique and at the same time the way in which the recitation incorporates the melodic patterns of the popular ulger to best effect