We will be going to Youtube- broadcast the 2019 World Yodel Day offline festival in Korea

We will be going to Youtube- broadcast the 2019 World Yodel Day offline festival in Korea now to the world yodelers. In fact, we have been Youtube-broadcast since 3 years before, but unfortunately, now we faced some financial difficulties, so I think, we may skip this Youtube-broadcast in this time.

But I think, there were a lot of world yodelers want to watch it not only yodel-enthusiasts in Korea who are not able to participate in the event. Resultly, we also decided to continue Youtube-broadcast.

However, due to the financial difficulties mentioned above, it was not possible to spend a lot of money on the Youtube-broadcast, so it would be a rather low level online broadcast where you could just hear &watch the screen and sound without dazzling camerawork. I hope many of yours understand.

[[[ Regional broadcast time guide ]]]

▶New Zealand, Fiji, Russia (Kamchatka Region)
August 17 at 9:30 pm

▶Australia (Middle East), Papua New Guinea, Russia (Primorsky Krai)
August 17 at 7:30 pm

▶Korea, North Korea, Japan, Russia (Yakutsk region)
August 17 at 6:30 pm

▶ China, Mongolia, Philippines, Singapore, Malaysia
August 17th at 5:30 pm

▶ Indonesia, Vietnam, Thailand
August 17th at 4:30 pm

▶ Bangladesh, Myanmar ( – 30 minutes), Nepal (+30 minutes)
August 17th at 3:30 pm

▶ India, Pakistan, Sri Lanka, Kazakhstan (+30 minutes)
August 17th at 2:30 pm

▶United Arab Emirates, Oman, Iran (+30 minutes), Uzbekistan (+30 minutes)
August 17th 1:30 pm

▶Russia (Moscow), Ukraine, Romania, Bulgaria, Greece, Turkey, Saudi Arabia, Iraq, Kuwait, Qatar, Jordan, Ethiopia,
Somalia, Sudan, Kenya, Madagascar
: August 17 at 12:30 pm

▶France, Germany, Italy, Spain, Netherlands, Switzerland, Austria, Poland, Czech Republic, Hungary, Norway, Egypt, Libya, South Africa
:August 17, 11:30 am

▶ UK, Ireland, Portugal, Tunisia, Algeria, Nigeria, Cameroon
August 17: 10:30 am

▶Iceland, Senegal, Ghana, Mali, Liberia
: August 17, 9:30 am

▶Greenland: August 17 7:30 am

▶Brazil and Argentina: August 17 6:30 am

▶ Eastern United States, Eastern Canada, Cuba, Jamaica,
Venezuela, Bolivia, Chile
:August 17th at 5:30 am

▶Midwest(USA), Texas(USA), Mexico
:August 17 4:30 am

▶United States West (Arizona, Nevada), Calgary (Canada), Costa Rica, Panama Texas (USA), Mexico
:August 17: 3:30 am

▶California (USA) and Vancouver (Canada)
:August 17 2:30 am

▶Alaska (USA): August 17 1:30 am

▶Hawaii(USA), French Polynesia: August 16 at 11:30 pm

——- International Date Line —————————–

▶West Samoa: 10:30 PM on August 17

Now, I declare the end of this 2019 World Yodel Day online event!

Now Hawaii-time has just passed midnight on 8th August 2019.

8th August 2019 no longer exists on Earth. (Of course, there are little bit vague time regions in Pacific. See the map!)

Not everyone will be satisfied, I think 2019 World Yodel Day have been spreading to many people more and more.

Next year, I believe we will can make more good something for the world yodelers.

Now, I declare the end of this 2019 World Yodel Day online event!

Thank you all for the fun together!

World Yodel Day cross to the Northern Hemisphere just one day!

World Yodel Day began in New Zealand and crossed Eurasia through Australia, Korea, China, Vietnam, Bangladesh, Ukraine, Austria, Switzerland, France, Holland, Norway, France and the United Kingdom.

World Yodel Day traveled across the Atlantic to the United States, through Argentina and Canada. From ‘Pennsylvania’ in the eastern United States, to Georgia(south)’ ‘Indiana'(Midwest), ‘Colorado’,’Arizona'(Western) and to ‘California’ overlooking the Pacific Ocean.

Unfortunately, we couldn’t cross the Pacific again, but at least World Yodel Day traveled across our northern hemisphere just one day 🙂

World Yodel Day cross to the Northern Hemisphere just one day!

8 August 2019


If you love yodeling, visit Yodel Day’s Youtube account, Plz subscribe & click ‘like’ : )






2019 World Yodel Day online event is now only available on YouTube, Instagram and Facebook.

2019 World Yodel Day online event is now only available on YouTube, Instagram and Facebook.

From now on, please enter the following address to enjoy the event. Again, we won’t announce the event anywhere except that site. 
Please enter the address below.

The event will start 12 hours from now.





2019 World Yodel Day, it’s now one hour to start

Based on my Korean time, 1 hour later will be the World Yodel Day. Although, World Yodel Day now started in Sydney and Melbourne, and Vladivostok(the Far East of Russia). Furthermore in New Zealand, World Yodel Day started 2 hours before.

If you look around other areas, 2 hours later, the World Yodel Day will begin in China and the Philippines and many countries in Southeast Asia will begin ‘Yodel Day’ in 3 hours later.

[If you want to time differences, look at the followed]

4 hours later : Central Asia and India
5 hours later : the Middle East and East Africa
6 hours later : Moscow and Eastern Europe
7 hours later : Almost Europe countries and South Africa.
8 hours later: London and West Africa

Even most of the American continent are still on August 7th, and the nearest US East is almost 13 hours ahead of Yodel Day.

How do we standardize this time differences from countries to countries?

As the last resort, I am going to start a full-scale online event from noon.

Maybe the noon [Korean standard time] is the most optimization hour almost Asian people, most populated region of the world. I thought it was probably the most appropriate time for the more people to celebrate ‘Yodel Day’ together .

Based in Korean Noon…the time differences like this ;

New Zealand is at 3 pm / Sydney and Vladivostok are at 1 pm/ China and the Philippines are at 11 am / Southeast Asia are 10 am / Central Asia and India are at 9 am/ Middle East and East Africa at 8 am / Eastern Europe is 7 am / Western Europe and South Africa 6 am, and the time of the eastern part of the United States will be moving from August 7th to August 8th.

But the Yodel Day will just begun 1 hours later [in Korean time], and I am too sad to do not anything for a long, so I want to quote a unique articles about yodel before go to bed- [it is time to go to bed in Korea.]

The first article to will be published for 2019 Yodel Day is a paper of yodel written by Georgia. I think this is about a very unique and special yodel- paper that I have not heard anywhere.

Again, thanks to Joseph Jordania, Krimanchuli[Georgian Yodel] researcher, for letting us know about this and letting it go.

I believe a lot of yodel-lovers will be interested it : ) If you want to read it, waiting for an hour~~~~

And Waiting the legitimate World Yodel Day again, I will start it 13 hr later!!!


▶ Before reading

The paper quoting “The diversity of the Western Western folk music Krimanchuli (Yodel)” is published in a symposium held every two years at the INTERNATIONAL RESEARCH CENTER FOR TRADITIONAL POLYPHONY in Georgia.

It is an article about the proud folk music “Krimanchuli”, Krimanchuli is an art with a similar vocalism like Yodel, so we can understand the Krimanchuli and yodel are written in almost the same meanings in this articles.

Although unfamiliar to us, Georgia is a country that is actively researching and disseminating folk music from around the world in terms of polyphonic music.

It is full of very surprising and strange stories. And all the stories are talking with clear references.

Today on August 8th, World Yodel Day, I will share this article with yodelers all over the world. I hope that article will be a good opportunities for many people to improve yodeling knowledges and new yodeling-imaginations.

This article is original text written by KETEVAN MANJGALADZE in Georgian and translated by MARINA KUBANEISHVILI in English.

I am particularly grateful to the original author for allowing me to post this article and special thanks to Joseph Jordania for giving me this article.

peter Lim



The richness of polyphonic forms and the diversity of singing styles of Georgian folk songs resulted in the creation of a rich musical terminology, where a particularly important place is ascribed to the names of the parts.

Georgian musical practice has preserved a great number of terms designating voices. Due to the incomplete sources these names exceed 50 in number.

They are: mtkmeli, damtsqebi, mtsqebeli, tsamomtsqebi (all the listed terms denote different variants indicating the leading part); shemkhmobari, modzakhili and momdzakhneli (the voices accompanying the lead voice – the second part); maghali bani (a high bass); ertiani bani (a stable bass part); khmieri (bass part); bani; dvrini (drone); shemdegi, dubi, gebi and zili (a high-pitched part . discant, a high voice); bokhi (low-pitched voice); krimanchuli (yodel), gadadzakhili (call and response); chamomrtmevi (a cut-in substituting part); tsvrili (a high-pitched voice); krini (the voice more high-pitched than zili); gamqivani, gamkivani, qivani, kivani, kivan (high-pitched voices in the dialects of different provinces of Georgia); pirveli khma; meore khma; momgherali mgalobeli; tsinamdzghvari khma; tsinamdzghvari mgalobeli; mtavari mgalobeli; melekse; shemghighinebeli; kapia; tavi; mechipashi (metsvrile); gamachqapali; zebani ≪mazhogh≫ (a lead voice); meubne; chipe; mechem; zhimubne; damtsqebiti khmai (a lead voice); pitskhi khmai, shemodzakhili; tsqeba . . .

The purpose of this study is to manifest the essence and timbre characteristics of krimanchuli (yodel).

Krimanchuli is a guttural voice creating melodic figurations and jumps depending on the performer’s wishes and his ability to keep the breath.

In the songs of west Georgian provinces , Imereti and Samegrelo, Krimanchuli seldom occurs and it never occurs in Abkhazia and Svaneti. The most unique specimens of polyphonic singing are represented by Achara and Guria’s folk songs, some part names of which are still preserved.

They are:

1. Krini, krimanchuli, tsvrili, gamqivani (different degrees of high-pitched voices);

2. Mtkmeli, damtsqebi, mtsqebeli modzakhili (variants of a leading,mostly a middle voice);

3. Bani (bass, the lowest part)

4. Shemkhmobari (pedal drone, sounding mostly around the same range as the second, leading voice).

While listening to a music piece one is first of all attracted by the melody mainly performed in high-pitched voices. The basis of Guria’s folk songs is contrasting polyphony. Every melodic line and every peculiarity of each voice is distinctly distinguished.

The well-known principle of imitation is never present here. Of all the voices krimanchuli stands out most clearly and makes a special impact on the listener.

Scholars, travellers and ethnographers of the 19th and 20th centuries often voiced their opinions about this high-pitched voice.

A famous traveller, Gvaramadze by name who lived for a number of years in the village of Makvaneti which was considered to be a “cradle of singers”, observed the Gurians’ customs and devoted a remarkable essay to the subject in the bulletin Mogzauri (Traveller) in 1901.

He wrote: “The extraordinary quality of Gurian songs can be ascribed to the singing of local birds: thrushes, nightingales and others rejoicing in nature by their whistling, twittering and chanting incessantly day and night in May and charming the Gurians’ ears. And the overwhelmed listeners imitate them delightedly” (Gvaramadze, 1901:574).

According to an ethnographer Apolon Tsuladze krimanchuli occupies a special place in a Gurian song. Krimanchuli or kirkantuli as the best connoisseurs of it profess is a lead voice, but like ghighini (humming), krimanchuli is sometimes performed individually.

A youth left alone sang krimanchuli on the road, in the field, in the forest. Krimanchuli helped when a person felt lonely and frightened; it drove away fear, boredom.

When a youngster was sent on an errand at night he was told: “Go to the place you’re bound to and krimanchuli on the way”.

Krimanchuli was sometimes sung by a shepherd.

If his peer echoed him from the opposite side, it sounded like a contest of two shepherds playing the soinari (west Georgian panpipe) or salamuri (a pipe). Krimanchuli was very fascinating to listen to,

especially in a moonlit night” (Tsuladze, 1971:13).

It should be specially stressed that krimanchuli has sometimes been performed individually, that is, it has been performed by one person not accompanied by other voices. It can supposedly be individually performed nowadays.

However we do not possess any record of it either in collected essays

or in any other written sources. This kind of performing krimanchuli was used to express human emotions and had a certain purpose. It is supposed that people used gestures for communication and a dialogue was carried out by a call and response dialogue performed by shouting to each other especially at a long distance.

Primitive man at an early stage acquired musical sounds on the imitative basis, on the other hand biophysiological moments were of great significance.

“Joy, fear, pain, grief were expressed by means of producing corresponding sounds” (Gruber, 1960:5).

Krimanchuli is often compared to a cock’s cook-a-doodle-doo. Imitating a bird is not accidental. The first part that might have sounded in human consciousness was a high pitched sound produced by an animal, particularly by a bird.

It is essential to note that the musical sounds directed to heaven are called chanting. In modern Georgian the word chanting (galoba) is associated with birds: it is also connected to the sacred music.

The problem of the term krimanchuli was first addressed in a publication by Pilimon Koridze: “The word krini (discant) indicates a woman’s high-pitched voice, tenor. It is produced in the chest, when this voice goes beyond its boundary, it turns into krini and turns, twists, swirls while producing the high-pitched sounds and this is the reason why it is called krimanchuli” (Koridze, 1901:3).

The interpretation of krimanchuli by Koridze as a twisting krini coincides with popular opinion.

The term krimanchuli itself must belong to a much earlier date.

Ivane Javakhishvili in his groundbreaking work “Main Issues of the History of Georgian Music” gives a deep insight and well-grounded analysis of the etymology of krimanchuli as a high-pitched voice of a song.

The author proves that krimanchuli originates from krini. The old Georgian krini must be a modification of knini, which means small, thin.

If we recall that the name of the lowest-pitched voice dvrini (humming) ends in the syllable ni, it may be concluded that in both cases ni does not belong to the root of the word but is a formative; thus kri should be asserted as being the root of the word.

Therefore, concludes Javakhishvili, kri is the root and krini means “thin”; (Javakhishvili,1938:299-300).

On a closer inspection we can see that the word krimanchuli is composed of two words.

Kri – denoting a high-pitched voice; krinav hardly producing a sound (Sulkhan-Saba Orbeliani Dictionary), krinti means producing a sound, a short one (there are some Georgian phrases illustrating the meaning: Krinti – Don’t you utter a word; krinta means a small piece of salt or sugar and also denotes a small quantity, kricha – means jaws, manchvagrekha

(the verb distort/twist/turn) according to the Georgian explanatory dictionary are the terms connected with mimicry, the interpretation of which is accorded a great deal of attention in the process of a song’s performance. Meanwhile it should be mentioned that manchia is a white-necked bird turning its neck all the time” (Ghlonti, 1984:344).

The 94-year-old peasant Lomineishvili (bass) says: “Why does it have this name? You should just look at a man’s face who sings krimanchuli what he looks like. How he twists and turns his voice. One can’t guess what he is up to and why” (Fieldwork Diary of the International Centre for Georgian Song and the International Research Center for Traditional Polyphony, May of 2004).

Tsrtialeba – “They call their parents with tsriaki – the sounds produced by chickens (Abuladze, 1973:550) and kriakhi – cackling of frightened chickens and the sounds produced by some birds” (Chikobava, 1986:270).

As regards to gamqivari, this term denotes a very high-pitched voice and the performer has the same name as the voice.

The performer of krimanchuli and gamqivani is the same person (Chikobava, 1951:937).

The voice has a specific timbre, a formula of a small range, ostinato, spontaneously rising call and response character summoning people to help with harvesting or other kind of field work.

Krimanchuli differs from gamqivani mainly in the range. Krimanchuli contains jumps at long intervals (usually fifth plus a third, resulting in a frequent use of seventh intervals).

The proximity of krimanchuli to gamqivani causes the performer to shift from krimanchuli to gamqivani or vice versa depending on the performer.

All the formulae represent the example of harmonious ostinato. The clearly cut sounds (fifth, or fifth + third below) create a harmonic frame in a three- or four-part polyphonic texture. Vertically intense polyphony is created; that is in a three-part song the impression of a five-part singing is achieved, and a four-part song sounds like a six-part one.

According to Akhobadze, krimanchuli joins the song when the low-pitched voice . bani (bass) – becomes the active performer of the melodic line, that is, the bani loses the function of a harmonic basis whereas krimanchuli restores the harmonic basis of the song by means

of specific ornamental embellishments from above.

According to J. Jordania, krimanchuli joins the song not only when the base loses the function of a harmonic basis, but it can be frequently heard with another stable voice simultaneously. For example, in naduri

(harvest) songs krimanchuli goes together with shemkhmobari (a specific pedal drone in the middle of the four-part polyphonic texture) (Jordania, 1989:144).

Gamqivani and krimanchuli are performed without a text, as a combination of syllables or vowels: i.a, u.a, a.i, uru-a, .ho, tir.tir.tir, rim.ti.ri, ri.a.ho, voi.i.ai.hoi, vo.ia, a.ri.a, i.ri.a, i.ri.ai.ho, ur.va.ho, ir.va.ho, i.si.a.ho, i.ni.a, rim.ti.ri, rim.di.ri, o.ia and others.

Similar to Georgian krimanchuli, a yodel is also performed on vowels and syllables in different part of the World: Europe, Asia and Africa.

The tradition of singers from Switzerland, Austrian Tyrol and pygmies from Central Africa rainforests deserve a special attention.

Back in 1897, when Tyrolese singers arrived in Georgia from Saltzburg, the striking resemblance between the yodel and krimanchuli was noticed. “It is amazing that the songs we heard today performed by the Tyrolese singers bear a striking resemblance to the Gurian songs” (Annonimous aithor, 1897:3).

The chords are constructed in European major-minor harmonic system. In the course of centuries the reserve of the river Moya (central Switzerland) was comparatively isolated. This ensured the preservation of the yodel tradition.

Scholars remark that originally the yodel began as a vocal imitation of alphorn music, in other words, people imitated the sound of the instrument while labouring. Shepherds communicated by means of the alphorn.

A phenomenon similar to krimanchuli is characteristic of the African Pygmies who are considered to possess a specific and rare singing culture even within Africa.

The vocal yodel in their music is connected with rhythmic polyphony and is performed accompanied by percussion instruments or clapping. The polyphony of the Pygmies is based on the principle of imitation. This principle comes from the yodel technique.

An interesting analysis and conclusions are given in a short article by a French scholar Pier Salle “The Collection of Live Traditional Music” (The article was written by the researcher in 1966 on the basis of recordings of songs performed by Gaboni Bibeac pygmies).

“As it is known, according to the yodel principle the voice is divided into two registers. The singer carries out two chest shifts, the forward and backward movements of falsetto is unchanged in two registers of the vocal possibilities. This sequence of sounds opposed in height and even more so, in timbre (a softer falsetto) ends in a successive fall and rise of

the fourth, fifth, sixth and seventh’s intervals” (Salle, 1975).

Of the materials obtained by us the most interesting ones are ritual entertaining songs connected with hunting and the collecting of honey.

For example: an entertaining song recorded at a forest camp near Digbo.

The mentioned specimens corroborate the fact of existing the similar phenomenon on different continents of the world: – in the middle of Euro-Asia (Guria-Achara . krimanchuli) in mountainous regions of Europe (yodel in the Alps), and in Africa among the Pygmies.

This fact may become the object of thorough study in the future.

English Translated by MARINA KUBANEISHVILI


Abuladze, Ilia (1973). Dzveli Kartuli Enis Leksikoni (The Dictionary of Old Georgian Language).Tbilisi: Metsniereba (in Georgian)

Anonimous author (1897). Teatris Matiane. Sokhumi (History of Theatre. Sukhumi). Newspaper Tsnobis Purtseli (in Georgian)

Chiqobava, Arnold (editor). (1951). Kartuli Enis Ganmartebiti Leksikoni (The Explanatory Dictionary of the Georgian Language). Tbilisi: Sakartvelos SSR Metsnierebata Akademia (in Georgian)

Chikobava, Arnold (Editor in Chief) ( 1986). Kartuli Enis Ganmartebiti Leksikoni (The Explanatory Dictionary of the Georgian Language). Tbilisi: Sakartvelos SSR Metsnierebata Akademia (in Georgian)

Glonti, Alexandre (1984). Kartul Kilo-Tkmata Sitqvis Kona (The Dictionary of Georgian Modes and Idioms). Tbilisi: Ganatleba (in Georgian)

Gruber, Roman (1960). Vseobshchaia Istoria Muziki (The General History of Music), part 1. Moscow: Muzgiz (in Russian)

Gvaramadze, Konstantine (1901). Guria (Guria). Mogzauri (The Traveller), ## 6-7:573-574 (in Georgian)

Javakhishvili, Ivane (1938). Kartuli Musikis Istoriis Dziritadi Sakitkhebi (Main Issues of the History of Georgian Music). Tbilisi: Federatsia (in Georgian)

Jordania, Joseph (1989). Gruzinskoe Traditsionnoe Mnogogolosie v Mezhdunarodnom Kontekste Mnogogolosnikh Kultur (Georgian Traditional Polyphony in the International Context of Polyphonic

Cultures. Problem of the Origins of Polyphony). Tbilisi University Press (in Russian with English summary)

Koridze, Pilimon (1901). Kartuli Musikis Shesakheb (On Georgian Music) The Iveria newspaper, # 96, p. 3 (in Georgian)

Pataridze, Ramaz (1980). Kartuli Asomtavruli (The Georgian Script) Tbilisi: Nakaduli (in Georgian)

Sale, Pier (1975). Jodel et Proc Edes Contrapunctiques des Pygmees (Yodel and Contrapuntal Performance among Pygmies). The article was translated from French into Georgian by Nino Kalandadze in 1999 (manuscript from the Archive of Tbilisi State Conservatoire)

Tsuladze, Apolon (1971). Etnograpiuli Guria (The Ethnographic Guria). Tbilisi: Sabchota Sakartvelo (in Georgian)

It is the first day of August. Today is eighth days left before World Yodel Day (D-8).

It is the first day of August. Today is eighth days left before World Yodel Day (D-8).

As we told you, on August 8th, World Yodel Day online event will be held with yodelers around the world.

The celebration images/videos from all over the world are gathering again and again, if you want to participate, please send it promptly.

Waiting for World Yodel Day, let’s go to Russia- another yodeling world. I believe, that another yodelings will lift up the ‘yodeling-imaginations’ of us.

This is the World Yodel Day announcement to be held online on August 8, 2019.

1. This event will be held online for Yodelers around the world. Many yodelers will participate in their own various method.

2. Participation is very simple. On the 8th of August, you can make and share your celebration messages, photos, and videos at the World Yodel Day bulletin board. If you need more details or subtitles, please send your content to peter@yodeler.net on July 15th. And then I will arrange and share on August 8th. Many yodelers are already showing their willingness to participate. If more people participate, the event will be more fun.

3. If you do not understand what this is all about or what it means, just click on the link to the World Yodel Day Facebook link and click on ‘Interested’ or ‘Join’.

On the 8th of August, you will be able to admire the amazing scenes of the Yodelers around the world. And with all that little effort, it becomes a lot of power to the World Yodel Day. And next year, more people will be together.


4. I think someone who think “Can I participate it although I am not good English user?” I think, English skills is not important to communicate with yodel together. Yodel itself is real global languages, and I believe that you will be able to enjoy the splendid appearance of the 8th of August through just Yodel not English. Please feel the joy of Yodel, the real global language.

5. There seems to be someone who think, ” Why do you do that meaningless job?” Yes, this whole event is never logical or rational. I also think it is just emotional, improvisational and meaningless, but this will be really funny… and I believe such an online event can influenced something specials for all yodelers. I believe it will be possible to make an strange but great event if many yodel-lovers doing it all together.

6. I believe this event will be done with the Hard work and dedication of everyone who Yodel-lovers and the result will give a meaningful amazing day to every Yodel-lovers. Please join us this event.

2019 World Yodel Day

This is the notice of the 2019 World Yodel Day event.
The event will be held worldwide on August 8th.
On August 8, 2019, all yodelers can celebrate World Yodel Day and share all their celebration messages, photos and images as follows link


The main character of this event is you. All of you can be the best actors and audience at the same time. All these activities will be another proof that Yodel is alive all over the world. We look forward to your participation!

This year, I would like you to be especially interested in Yodelers in Southeast Asia.

On August 8 World Yodel Day here,
Show us how many people around the world are enjoying yodeling so we wish that more Southeast Asian people can love yodel as we do.