Circular Breathing and Circular Sound
Authors: Tserenbaljir TSEVEGSUREN 
Published: November 2024

This article introduces the results of a study of the method of the limbe performance of the long-song, implemented by circular breathing, and its connection with the thinking and creating peculiarity of the Mongols which is based on the example of the ulzii pattern (endless knot pattern, denoting a good fortune).  Previously, we have clarified the process of circular breathing using video- diagnostic equipment from  the medical sciences, and 3D modelling techniques from the physical sciences.[1.106,115] We have spoken of its use in training [2.25-28], clarified the technique of the limbe performance based on recordings of senior players of the limbe the  which accompanied the long- song, as [3.108-114], revealed and registered  players of the limbe who perform by the circular breathing technique [4.2-8], clarified their skill and repertoire [5.18], described future protection and distribution of the technique [6.3-17], and described the use of the technique for the other wind instruments.[7.102-103] The performance implemented by the players of the limbe using circular breathing is an art; together with the and is in connection with the feather, shape and content of the - song it is a perfect creation and a precious heritage which must be learned by Mongolian players of the limbe.  It is the complete expression of the wide facts and rhythms of the long- song that provides the condition for the limbe performance of the melody without the interruption, implemented by the wonder of the circular breathing which enriches the song’s melody by its decorations. When the player of limbe, together with a singer of the long- song performs, and the singer takes his or her breath, the player of the limbe firmly supports him or her, continuing the melody without interruption, using the circular breathing technique. So circular breathing is the main criterion for the definition of the skill of a player of the limbe. Then we consider that the Mongolian players of the limbe produce the circular sound by way of continuing the long- song, using the circular breathing art, and by the firm connection with the logical order of the body (1), endurance (2), thinking (3), feeling (4), meditation (5) and creation (6). We explain how the circular sound appears by the ulzii pattern (endless knot pattern, denoting a happy fortune).  A logical order occurs beginning with the eye of the upper side of the ulzii pattern representing that the body is first drawn.  The drawing continues and the eye of the low, left side is drawn and so on. For the ulzii pattern it becomes a full image, starting from the proper point and continuing and coming back to the starting point. This circular regularity provides the possibility to explain the circular breathing, and the process of drawing and closing the eyes expresses the connection between these two processes, at the imperfect and perfect level. If we consider this at the perfect level, then meditation is the yin and creation is the yang. In brief, for the regularity the above- mentioned process which produces the circular sound was explained. On the basis of the yang and the yin from the point of the logic science.