INTRODUCTION

The didjeridoo or GUNBARRK is the oldest musical instrument in the world with a 40 000 year recorded history.  Traditionally, it was found amongst the Top End tribes of the Northern Territory; most notably ARNHEM LAND people.  However, it did find its way to tribes outside of this secluded area via the trade and ceremonial routes which existed in Aboriginal Australia.  Today the didjeridoo is seen as being part of a world wide view of Aboriginal identity.

Many of the non-Aboriginal people have little knowledge regarding the cultural and spiritual significance of the didjeridoo.  Whilst the origin of the didjeridoo varies from one tribal group to another, it is a general belief that it is associated with the Rainbow Serpent.

In the Jawoyn language group the didjeridoo is called Gunbarrk.  The Jawoyn belief is that within the hollow section of the instrument a spiritual snake lives, which inhibits the sound.  Leaves of a specific tree are burnt and as the smoke enters and leaves via the hollow, it is beaten with small branches off the same tree.  Thus the snake is driven out.  The same leaves are used throughout the Arnhemland region in purification ceremonies associated with mortuary rites.

The preparation of the didjeridoo for painting takes about five days.  The detail and intricacy of the painting dictates the final time expenditure and can be up to a week in some cases.  The true beauty of the traditional didjeridoo is its individual natural diversity.  Termites eat the inner tissues of the tree trunks and branches.  Each one is eaten differently unlike drilled, bamboo or pipe pieces.

A natural didjeridoo is unique, each having an individual sound.  Even the incredible shapes can be attributed to the termites.  This is the plants reaction to being eaten.  One of the most desired shapes is one which tapers out into a bell.

TYPES AND PLAYING STYLES

The style of didjeridoos vary from one area to another.  North Eastern and Central Arnhemland makes use of an instrument referred to as a YIDAKI.  This instrument is characterised by a narrow small mouth section tapering to a flared end.  This style of instrument is suited to rapid compositions.  Traditional compositions from this area could be termed as abstract with voice utilisation for “calling” (mimicking animal noises), tongue used in a flicking motion in unison with lips and extensive use of a horn sound or poop throughout compositions.

Another playing style is found in Western Arnhemland.  Unlike styles of other areas there is very little “calling”.  However the voice is utilised in producing “harmonic overtones” in unison with the song being performed.  Above all it is more regimented in composition than the above, flexible enough to allow the player to demonstrate individual qualities as a musician.

INSTRUMENT SELECTION

When selecting a didjeridoo to have and use as a musical instrument there are a few things to keep in mind :

1. The most important thing to ensure is that the didjeridoo is completely hollow. The fact that there appears to be a hollow at either end is not evidence enough.  You should be able to see light clearly as you hold one end to an eye.  No matter how chiselled out the end may be, if the centre isn’t hollow it will not play.
2. Holes and cracks in the body of the Gunbarrk are also worth looking for. As the Gunbarrk is a living thing, it will expand and contract with climatic changes.  Small cracks in the surface are not generally a problem.  Any cracks can be checked by placing the lips over the crack and sucking.  If air comes through it needs sealing.
3. Acrylic paintings tend to seal the didjeridoo and sound whereas the life expectancy of an ochre painting on a didjeridoo is controlled by the amount of fixative used and the amount of wear and tear it is exposed to.
4. Size is more an individual choice. The total inside diameter is what determines the quality of sound produced.  Thus, bigger diameters in the hollow usually indicate a deeper, fuller resonance.
5. Another thing to look out for is that the mouth piece seals the mouth. Playing with the instrument to the front or side of the mouth is an individual decision.  The important thing is to have the mouth sealed, so it is airtight.  A wax mouthpiece aides in this and makes it more comfortable for playing over long periods.

 

PLAYING THE DIDJERIDOO

Circular breathing is the technique employed for playing continuously. When commencing to play the didjeridoo, most people are impatient to learn circular breathing.  The first efforts should be directed to developing a base sound.

This sound is like a foundation to which other sounds are combined and so form the composition.  Building these sounds and mixing them into an audible, harmonious extension is hard.  Breathing can be mastered in twenty minutes.  Seriously!

So forget breathing for the time being.  Five things are used to produce the different sounds of the didjeridoo.  These are the lips; tongue; voice; cheeks and stomach.

Lips and tongue are used to get the vibrating, resonating sound.  They can also be used to get the direction, pace and tune of the composition.  The voice is used to enhance the players pace and tune.  It is also used for making the various mimicking bird and animal sounds.  The stomach is used as a bellow, forcing the air up and out from the lower diaphragm.  This creates the deep pumping rhythm.  Also, the cheeks may be used to squeeze or expel air forcefully from the mouth, creating either a pumping or spitting effect.

The sounds which may be produced are limited only by the individual.  Remember nearly everyone’s first attempts sound terrible.  Once accustomed to lip positions and sounds related to this, improvement is rapid.

Probably, the worst practice is to become too analytical, this can prove more an obstacle than an asset.  Playing should be a subconscious extension of the player.  A good Gunbarrk will play itself, you just add the air.

 

APPLICATIONS OF TECHNIQUES

1. place your top lip to the inner top of the mouth piece section ensuring that the mouth piece is fully sealed.
2. With lips relaxed and pursed together blow a slow continuous breath allowing them to vibrate. This is the foundation sound.  Continual practise of this sound is essential before moving on.
3. For variations in tone with tongue and vocals can now be introduced.
4. TONGUE : Basic variations are produced by the flicking of the tongue from the roof of the mouth to the back of the top lip.  An exercise for obtaining this sound is by vocally repeating the phrase: dit-moor, dit-moor, dit-moor.  Observe the movement of the tongue within this exercise.  Now practise this phrase whilst playing the didjeridoo.  This phrase can then be expanded by adding a variation of tongue flicking movements.
5. VOCALS : To produce the mimicking animal and bird calls practise making the sounds first, for example a dog howling, a bird calling and many others. Now to apply this to the didjeridoo again practise these sounds without moving the lips.  When making these sounds through the didjeridoo it is important to note the sounds are made by the vocal chords only.  This is then combined with the foundation sound as made by blowing to form a composition.