This style of long song singing has been preserved in the territory of former Borjigin Tsetsen Wang banner of Tsetsen Khan county of Khalkha – present western and northwestern territory of Dornogobi province to the south of Darkhan soum in Khentii province; toward the south Bayanjargalan and Bayantsagaan soum in Tuv province and Tsagaandelger, Gobi-Ugtaal, Saintsagaan, Bayanjargalan and Deren soums in Dundgobi province. One of the prominent representatives of this Borjigin long song style yet known was R.Reden (1872-1914). The Borjigin melody and school is considered to be the most excellent from other styles, where we cannot deny the highly-developed cultural influences of the court of medieval Mongol khaans. In the other hand, the Borjigin long song was spread among the hills and hillocks of the steppe, prairie pastures and regions of Gobi mirage, these natural patterns and landscapes are depicted artistically and aesthetically both in singing and listening the Borjigin songs.
The proficiency of Borjigin long song singers manifest and demonstrate highest level of artistic and aesthetic skills and techniques such as ‘jirgee tsokhilgo’ (laryngeal ‘chirping’ vibrative beats), ‘dan (singular) and davkhar (double)‘shurankhai’ (An octave leap to reach the highest pitch in falsetto), ‘gegelzuuleh’ (singing in up and down shift of tones as emotional expression), ‘ogdolzuulah’ (singing in sudden shifts of tones) and ‘bunjignuuleh’ (lit. ‘moving back and forth’ between two tones) etc..