Khöömei Overtone Singing workshop with Raphaël De Cock – Venice
Ajoutée le 12 déc. 2016
Category: RAPHAEL DE COCK
The Legend of the River Khöömeï – Raphaël De Cock
The Legend of the River Khöömeï – Raphaël De Cock
Ajoutée le 28 juin 2013
Online Khöömeï contribution by Raphaël De Cock, candidate from Belgium, to the Tuvan Khöömeï Throatsinging Symposium 2013. ……. is a winner as 2 Laureate in the Internet Khöömeï Competition of the Tuvan Khöömeï Symposium 2013, Overtone throatsinging! http://vimeo.com/68850525 Improvising at the Khöömeï River Loup , Colle-Sur-Loup, France, 4th of June 2013 A medley of improvisations on Tuvan throat singing, including kargyraa, dag kargyraazy, koptering kargyraazy (vertoleting kargyraazy), chylandyk, borbangnadyr, sygyt, ezengileer, …. Image & sound recording: Sascha Grimm (www.studiogrimm.eu) Thanks to Choduraa Tumat for the invitation and to Elisabetta Ragnanin for inspiration and Dukha* legends about the origin of khöömeï singing…. (* Dukha or Tsataan are a reindeer herding tribe of Tuvan/Tozha dialect speaking people in NW Mongolia) The Legend of the River Höömey Let me say something on throat-singing (höömey). Yeah, the thing called höömey is a nice and pleasant melody of the Tuvan land, Tuvan people. The old grandfathers told me from which place it came from at first, how it came into existence. In early former times, there were aals (camps) and peoples, there were Dukhan peoples herding reindeer and living in separate groups. As for that place, to the back side of the back taiga, there was a river called Höömey. A part of Dukhan peoples were living at that river. Among them there was a young orphan boy, without elder and younger siblings, without mother and father, without elder and younger siblings, wandering around. Among those aals, within a main, rich aal, there happened to be three girls. Of the three the youngest happened to be incredibly pretty. Yeah, our single hunting orphan boy fell in love with that girl, and what happens now? One day the rich Lord got informed that his small daughter got acquainted with a poor vagabond hunter boy and that she had become inseparable from him. The rich Lord called the boy one day. “Yeah my Lord, I came to you wondering why you called me. “So boy, if it is like this, as I heard, you are planning to get my daughter, isn’t it. Yeah, if it is like this, within seven days, there will be a big celebration in my honor. At that time, you will perform mastering höömey like the very melodic river that flows behind the high taigas. If you will manage to learn its singing art, you will get my daughter”. Yeah, the boy went to the banks of that river. The voice of the river was at its best early in the morning and in the evening. In whatever way he listened; what he heard was like kargïraa-höömey. Yeah, he was imitating the voice of the river, he sat at its bank, finding the places from where the most melodious notes could be perceived, and during fourteen days he imitated and imitated better and better the sounds of the river. So, time has passed and the day fixed by this rich family came nearer. At that party, now he was the person in charge of performing höömey, he had prepared himself really well, in order to perform höömey, he had cleared his throat, he had gone there thinking that he will actually perform höömey. At the very end of the feast that important and rich Lord called the orphan boy. “Yeah, did you forget the words I told you fourteen days ago?” The boy, “No, I did not forget”, he said. So, those many people listen to him and he performs höömey for about three hours. He performed kargïraa. “Now it is enough”, said the rich Lord at this point. “Yeah, you are indeed a person who performs höömey well. However, you cannot get my daughter yet. Now first, you will perform kargïraa again”, he said. Yeah, after that, after three days had passed, he came and once again he performed kargïraa. So, having gotten the girl, now, in the middle month of the autumn, on the fifteenth a big celebration is made. A big marriage party was made to marry those two ons. After many years, then all the children born from those two young ones happened to be performers of höömey. So, it is said that in the Toju region, in that direction, the thing called höömey was first discovered. (Adapted from Elisabetta Ragnanin, The legend of the river Höömey – recorded in the East Taiga in September 2008. Speaker: Gombo) Strangely enough the Dukha people don’t perform khöömeï (anymore?).. whereas the throatsinging Tyva clans don’t have any (reported?) legends about the origins of throatsinging…..
Nadishana -Raphael De Cock – NADISUNA (full version)
Nadishana -Raphael De Cock – NADISUNA (full version)
Ajoutée le 1 janv. 2011
http://nadishana.com/nadisuna The duo of two virtuoso multi-skilled musicians Nadishana / Raphael De Cock is a fusion project which takes you to musical journey through different ethnic cultures. Combining self-composed and traditional tunes musicians shows the knowledge of the wide range of traditional musical cultures and innovative approach to cross-cultural fusion. Khakas odd meters are blending here with Sami yoik, dzuddahord is accompanying uilleann pipes, kaval meets chathan. Musicians use traditional folk instruments (uilleann pipes, chathan, low whistle, khomus, udu) in combination with self-invented (futujara, dzuddahord, hybrid kaval).
10 years Muziekpublique | Raphaël De Cock : Improvisations on Tuvan throat singing
10 years Muziekpublique | Raphaël De Cock : Improvisations on Tuvan throat singing
Published on Jun 13, 2012
Raphaël De Cock unveils here a series of techniques typical of throat and overtone singing from Tuva, a region in Southern Siberia. You hear a suite of improvisations: a deep growling style of throat singing (Kargyraa), a technique that brings to mind the Jew’s harp or the didgeridoo (Khöömei), a style that makes waves like water (Borbangnadyr) and one with overtones that whistle (Sygyt). Raphaël was 16 when he first heard Tuvan singers on the radio. As a Jew’s harp- and Uilleann pipe- player, he noticed that their singing techniques worked according to the same drone principle as his instruments — and so soon he started to look into making these sounds himself. After years of practice, with occasional refinements from Tuvans, visiting for concerts or encountered on his travels, he has perfected the art of overtone singing. The very same vocal techniques are used in Sardinian polyphonic choirs — and these are another of Raphaël’s passions. He uses his throat singing (traditional and his own styles), innovations, improvisations and tones in various groups: Osuna, Voxtra, NadiSuna, GRIFF, Northern Lights, and the cine-concert project ‘Odna’. He also gives singing lessons at Muziekpublique. — Raphaël De Cock dévoile une série de techniques typiques de chants de gorge et chants diphoniques de Touva, une région dans le sud de la Sibérie. Vous entendez une suite d’improvisations : un style profond de chant de gorge grognant (kargyraa), une technique qui rappelle le son des guimbardes ou didgeridoos (Khöömei), un style qui ondule comme l’eau (borbangnadyr) et un avec des diphonies qui sifflent (sygyt). A l’âge de 16 ans Raphaël a pour la première fois entendu les chanteurs tuvains à la radio. Comme joueur de guimbarde et de cornemuse (uilleann pipes), leurs techniques de chant — selon le même principe de bourdon que ses instruments — a fortement attiré son attention et bientôt il a commencé à chercher à les produire lui-même. Après de nombreuses années de pratique et des ajustements occasionnels par des chanteurs tuvains en visite pour des concerts, ou pendant ses voyages, il s’est perfectionné dans les chants diphoniques. Les mêmes techniques vocales de gorge sont également utilisées en polyphonie sarde, une autre passion de Raphaël. Raphaël utilise le chant de gorge, traditionnel ou des techniques auto-inventées, les improvisations et les timbres dans différents groupes : Osuna, NadiSuna, GRIFF, Northern Lights, cineconcertproject “Odna”,… Raphael donne également des cours de chants chez Muziekpublique. — Raphaël De Cock geeft een reeks van typische keel- en boventoonzangtechnieken ten prijs uit Tuva, een streek in Zuid-Siberië. U hoort een improvisatie met achtereenvolgens een diepe brommende keelzangstijl (kargyraa), een techniek die doet denken aan de klank van mondharpen of didgeridoos (khöömeï), en een stijl die kabbelt als water (borbangnadyr) en één met fluitende boventonen (sygyt). Raphaël hoorde op 16-jarige leeftijd de eerste keer Tuvaanse keelzangers op de radio. Als mondharpspeler en beginnend doedelzakspeler (uilleann pipes) trokken deze zangtechnieken – met hetzelfde bourdonprincipe van deze instrumenten – sterk zijn aandacht en algauw begon hij er zelf naar te zoeken. Na vele jaren oefenen en occasionele bijsturing door Tuvaanse zangers, hier op bezoek voor concerten, of op zijn reizen, leerde hij en schaaft hij nog voortdurend zijn stem bij. Dezelfde keelstemtechnieken worden immers ook gebruikt in Sardische polyfonie waar Raphaël gepassioneerd mee bezig is. Raphaël gebruikt keelzang, zowel traditionele als meer zelfuitgevonden technieken, improvisaties en timbres in verschillende groepen, o.a. OSUNA, NadiSuna, GRIFF, Northern Lights, cinéconcertproject “Odna”. Raphaël is ook leraar zang bij Muziekpublique. — Image: Rafael Serenellini, Justine vande Walle, Zeno Graton Sound : Cédric Plisnier, Arthur Benedetti Production : Jacoba Kint, Morgane Mathieu Technical coordination: Mathieu Alexandre English translation: Owen Thomas McEldowney http://www.muziekpublique.be “A Song a Day: World Tour in Music and Images”: http://www.muziekpublique.be/news/ext… http://www.muziekpublique.be/news/ban… http://www.myspace.com/nadisuna http://www.griff.be/ http://www.folkradio.co.uk/2011/07/no… http://www.muzikacine.fr/index.php?me… http://www.myspace.com/raphaeldecock
End of Season Festival 2019 : Overtone and throat singing – Raphaël De Cock
End of Season Festival 2019 : Overtone and throat singing – Raphaël De Cock
Ajoutée le 25 juin 2019
More than 600 students take part in the world music and dance courses of Muziekpublique’s music school. Traditionally, the End of Season Festival in June celebrates the students and their teachers. They present the result of several weeks of lessons. http://www.muziekpublique.be
10 years Muziekpublique | Raphaël De Cock : Improvisations on Tuvan throat singing
10 years Muziekpublique | Raphaël De Cock : Improvisations on Tuvan throat singing
Ajoutée le 13 juin 2012
Raphaël De Cock unveils here a series of techniques typical of throat and overtone singing from Tuva, a region in Southern Siberia. You hear a suite of improvisations: a deep growling style of throat singing (Kargyraa), a technique that brings to mind the Jew’s harp or the didgeridoo (Khöömei), a style that makes waves like water (Borbangnadyr) and one with overtones that whistle (Sygyt). Raphaël was 16 when he first heard Tuvan singers on the radio. As a Jew’s harp- and Uilleann pipe- player, he noticed that their singing techniques worked according to the same drone principle as his instruments — and so soon he started to look into making these sounds himself. After years of practice, with occasional refinements from Tuvans, visiting for concerts or encountered on his travels, he has perfected the art of overtone singing. The very same vocal techniques are used in Sardinian polyphonic choirs — and these are another of Raphaël’s passions. He uses his throat singing (traditional and his own styles), innovations, improvisations and tones in various groups: Osuna, Voxtra, NadiSuna, GRIFF, Northern Lights, and the cine-concert project ‘Odna’. He also gives singing lessons at Muziekpublique. — Raphaël De Cock dévoile une série de techniques typiques de chants de gorge et chants diphoniques de Touva, une région dans le sud de la Sibérie. Vous entendez une suite d’improvisations : un style profond de chant de gorge grognant (kargyraa), une technique qui rappelle le son des guimbardes ou didgeridoos (Khöömei), un style qui ondule comme l’eau (borbangnadyr) et un avec des diphonies qui sifflent (sygyt). A l’âge de 16 ans Raphaël a pour la première fois entendu les chanteurs tuvains à la radio. Comme joueur de guimbarde et de cornemuse (uilleann pipes), leurs techniques de chant — selon le même principe de bourdon que ses instruments — a fortement attiré son attention et bientôt il a commencé à chercher à les produire lui-même. Après de nombreuses années de pratique et des ajustements occasionnels par des chanteurs tuvains en visite pour des concerts, ou pendant ses voyages, il s’est perfectionné dans les chants diphoniques. Les mêmes techniques vocales de gorge sont également utilisées en polyphonie sarde, une autre passion de Raphaël. Raphaël utilise le chant de gorge, traditionnel ou des techniques auto-inventées, les improvisations et les timbres dans différents groupes : Osuna, NadiSuna, GRIFF, Northern Lights, cineconcertproject “Odna”,… Raphael donne également des cours de chants chez Muziekpublique. — Raphaël De Cock geeft een reeks van typische keel- en boventoonzangtechnieken ten prijs uit Tuva, een streek in Zuid-Siberië. U hoort een improvisatie met achtereenvolgens een diepe brommende keelzangstijl (kargyraa), een techniek die doet denken aan de klank van mondharpen of didgeridoos (khöömeï), en een stijl die kabbelt als water (borbangnadyr) en één met fluitende boventonen (sygyt). Raphaël hoorde op 16-jarige leeftijd de eerste keer Tuvaanse keelzangers op de radio. Als mondharpspeler en beginnend doedelzakspeler (uilleann pipes) trokken deze zangtechnieken – met hetzelfde bourdonprincipe van deze instrumenten – sterk zijn aandacht en algauw begon hij er zelf naar te zoeken. Na vele jaren oefenen en occasionele bijsturing door Tuvaanse zangers, hier op bezoek voor concerten, of op zijn reizen, leerde hij en schaaft hij nog voortdurend zijn stem bij. Dezelfde keelstemtechnieken worden immers ook gebruikt in Sardische polyfonie waar Raphaël gepassioneerd mee bezig is. Raphaël gebruikt keelzang, zowel traditionele als meer zelfuitgevonden technieken, improvisaties en timbres in verschillende groepen, o.a. OSUNA, NadiSuna, GRIFF, Northern Lights, cinéconcertproject “Odna”. Raphaël is ook leraar zang bij Muziekpublique. — Image: Rafael Serenellini, Justine vande Walle, Zeno Graton Sound : Cédric Plisnier, Arthur Benedetti Production : Jacoba Kint, Morgane Mathieu Technical coordination: Mathieu Alexandre English translation: Owen Thomas McEldowney http://www.muziekpublique.be “A Song a Day: World Tour in Music and Images”: http://www.muziekpublique.be/news/ext… http://www.muziekpublique.be/news/ban… http://www.myspace.com/nadisuna http://www.griff.be/ http://www.folkradio.co.uk/2011/07/no… http://www.muzikacine.fr/index.php?me… http://www.myspace.com/raphaeldecock
TRAN QUANG HAI's world throat singing 