It is the most widespread style of Mongolian long song spread in the territories of former Sain Noyon Khan and Zasagt Khan counties as well as southern part of Tusheet Khan county that cover the entire region of Khangai mountain range and the vast region from Jargalant mountain to the Gurvan Saikhan mountain of Mongol Altai mountain range as well as the immense area from the south of Khuvsgul Lake to the Gobi – present Darvi, Tsetseg and Chandmani soums of Khovd province; from Zavkhan, Undurkhangai, Tsagaankhairkhan and Zuunkhairkhan soums of Uvs province to Tosontsengel and Ikh-Uul soums in Khuvsgul province;   Saikhan-Ovoo, Delgerkhangai, Khuld and Ulziit soums of Dundgobi province (the subgroup of Achit melody), Khanbogd soum of Umnugobi province (a subgroup of Gobi-Khinggan melody). Therefore, the western provincial melody and school is the common long song heritage of numerous ethnic groups such as Borjigin, Besud, Olkhonuud, Sartuul, Kheregud (Khirgiz), Kharchin, Khorchin, Eljigin, Tangud, Uriankhai, Jalair, Gorlos and Khotgoid, the ancestors of present Khalkhas.     

Western regional melody reflects the beauty and formations of high mountains, steppe, grassland and the Gobi, while possessing highly-skilled artistic and aesthetic proficiency of long song techniques such as ‘ugtakh shurankhai’ (An octave leap to reach the highest pitch in falsetto), ‘nam (low) shurankhai’ (An octave leap to reach the highest pitch in falsetto), ‘dan (singular) and davkhar (double) ‘shurankhai’ (An octave leap to reach the highest pitch in falsetto once or twice), ‘Khalkha style melisma of ‘nugalaa’ (lit. ‘bending’) and ‘khugalaa’ (lit. ‘breaking’) and ‘bunjignuuleh’ (lit. ‘moving back and forth’ between two tones). In comparison to long song styles of Central Khalkha, Borjigin and Bayanbaraat, the Western regional melody and school keeps the early medieval form, techniques and proficiency of long song singing.

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