The Didgeridoo can be described as a simple instrument found in nature – originally from Aboriginal Australia – that can be played with much complexity using the mouth, lips, tongue, cheeks, throat, vocal cords, diaphragm and abdomen to create complex rhythms. Here are four lessons on playing the didge including making the drone, vocalizations, introduction to rhythms and circular breathing. The extended version of this guide is offered in our rhythms workshops and private lessons that we offer to the public.

Lesson 1 - Making the Drone or Fundamental Tone

The goal for this lesson is to get you to play a controlled drone

First, it’s a good idea to warm up your lips. Start by making the buzzing sound with our mouth - without the didgeridoo. Yes, you’re abnormal, just face it and do the Silly Monkey – as described below:

I. Take a deep breath - puff out your cheeks - and push out your lips by starting with the burst of air as in the pronunciation of an explosive “P”. Keep the center sections of your lips relaxed now and bring the corners of your mouth in a bit. Think Loose. You should be blowing air through your lips allowing them to vibrate which makes a low pitched buzzing sound. Your mouth muscles may not be strong enough at first to buzz you lips without the didge but keep trying or move to step 2 using the didge.

II. Next, Transfer what you just did to the mouthpiece of your didge. There are really only two styles of setting your lips to the mouthpiece: either straight on with the mouthpiece centered directly underneath the nose - or to the right or the left of the center. Both styles work well and it’s best to try both and then decide which is more comfortable for you. Once you decide which style is most comfortable for you, make sure your hand doesn’t cover any part of you mouthpiece. Now, take a deep breath in through your nose and blow evenly down the center of the didgeridoo while buzzing your lips inside the mouthpiece. Your lips should be tucked comfortably inside your mouthpiece and buzzing to be effective with this exercise.

Here are two pointers to help you get used to making the drone

1. A good seal makes a great sound. If your seal is too loose you may be leaking air. This will dampen the tone and can be prevented by making a complete seal between your lips and the mouthpiece.

2. Be careful of the over blow. Once you have found your position beginners often blow extremely hard and get what sounds like a camel spitting (If you can imagine). Usually you can correct this by just easing up on your blowing.

Lesson 2 - Vocalizations

The goal of this lesson is to learn how to imitate sounds in music, and in nature, using your voice to add texture and variation to your sound

The human voice is capable of producing an infinite number of sounds between any two notes with only slight differences between them. However, in modern music, all instruments (including the singing voice) normally only use the fixed notes of the piano, or the notes of the chromatic scale of tones. (i.e. C-D-E-F-G-A-B-C, including sharp’s, & flat’s.) Every didgeridoo has a fixed tone, or note, that’s called the fundamental drone, or fundamental for short. In music, the fundamental refers to having the root in the bass, and represents the first harmonic in a harmonic series, or in this case the drone. (i.e. The C note is the fundamental or first note in the C major scale) The fundamental of the didge is like a single key on the piano and is naturally fixed to a single tone. The human voice can mimic your instruments fundamental in pitch and tone, as well as add noticeable differences to the sound by pitching the vocals to create two tone chords. (i.e. the fundamental & your voice)

TIP #1

Before you begin the next exercises it’s important to note that some didgeridoos offer better vocals. In my opinion, didges with at least a 2” bore make the best instruments to practice your vocal technique on. This is because they require less air pressure to voice, sing, or hum different notes.

Pitching Exercises - Pitching your voice to the fundamental

Let’s start with a simple pitching exercise. The word 'Pitch' refers to the height or depth of sound and is accomplished by using your vocals to hum or sing a note while simultaneously playing the basic drone, or fundamental of your didge. I use a didjbox, by Marco Johnson in the key of C for this exercise.

1. Using a piano or guitar locate and play the C note – preferably one closest to the sound of your didge which will most likely be a Low C.

2. Next, listen carefully as the C note sounds - then play it again. This time pitch the note through the didge as you make the drone.

3. If your didge is not tuned to a key on the chromatic scale of tones you can sing or hum the solfege syllable “Do” to mimic, or harmonize with your instruments fundamental tone.
   

Look for information on Pitching your voice to the 3rd and 5th note of your didge in our downloadable studyguide

Animal Sounds (Traditional and Non-Traditional)

Here are some traditional and non-traditional animal sounds that you can also make using the techniques described above to pitch your voice. The Aboriginal people of Australia, like the Native Americans of the United States have often imitated animals they hear in their environment as part of their storytelling rituals. I have classified these animal sounds as traditional – Australian Aboriginal, and non-traditional – Native American.

The Dingo – Traditional, (Wraa-wraa – Wraa-wraa – Uunh – Uunh)

The Kookaburra – Traditional, (Koo-koo – Kuu-kuu – Ki-ki-ki-ki ki-ki-ki-ki)

The Kangaroo – Traditional, (Ooo-Eee-Ooo-Eee-Ooo-EEE)

The Crow – Non-Traditional, (Caw-Caw-Akk-Akk – Caw-Caw-Akk-Akk)

Lesson 3 - Introduction to Rhythms

The goal here it to give you all you need to start creating your own rhythms using base, tones, and gut slaps

Rhythms are fun because we are constantly challenged to create new breathing patterns. That is to say every rhythm is completely dependent on the patterns in which we breathe. This is an interesting dynamic! Our breathing, or breath work/pattern, consists of calculated sniffs of air through our nose that turn instantaneously into the rhythmic sounds that are made through the didgeridoo. You can actually learn in measures as you will soon find out. For example, the common 4/4 beat can be applied this way. Unlike other wind instruments, the didgeridoo hasn’t the tonal agility you might find in a trumpet. Because we’re unable to make a melody as such, we must compensate by making our own rhythms using techniques described in one of the three following categories: base sounds, tone sounds and gut slaps. I have created these terms to follow what I have learned about creating rhythms in African drumming using base, tones, and slaps.

Base, Tone and Gut Slaps

I have broken all rhythm techniques down into three primary categories; Base Sounds, Tones and Gut Slaps. The base of the rhythm refers to part of the rhythm that is created by your mouth, lips, tongue, and cheeks (i.e. the drone). The tone of the rhythm refers to the part of the rhythm that is set by your throat and vocal cords. (i.e. pitching & animal calls) Gut Slaps are calculated pushes from the abdomen in conjunction with your diaphragm to create additional rhythms. I sometimes refer to gut slaps as rhythmic laughing because the same muscles are used in our abdomen and diaphragm when we laugh out loud. Learning each of these rhythm techniques can help you to create your own complex style of polyrhythmic playing. A polyrhythm is defined as two or more contrasting or independent rhythms being played simultaneously. Polyrhythm’s can be found in African drumming and their rhythms can be superimposed into modern didge rhythms.

Base Sounds

The first way we will be making a rhythm is with a base technique known as Tonguing. Tonguing is essentially just as it sounds, using your tongue to create variations in the sound. As you will soon find out word formulas will be assigned to help learn rhythms and emphasize how the rhythm is created using your mouth and tongue to shape the sound. In the following lesson you will learn how to make rhythms by tonguing in common beat patterns using clap sticks. Clap sticks require the coordination of your hands and make a great tool for keeping good time.

Tonguing

In the following tonguing exercise we will learn to make rhythms using word formulas For example, try saying the following exercise out loud (without a didge) and pay close attention to where the tip of your tongue touches inside your mouth between the words Ticka and Tocka. It always helps to first say the word formula out loud before trying to replicate the sound on the didge. Try to become familiar with how your tongue moves in the retroflex position.

1	&	2	&	3	&	4	&
Tic-	ka –	Toc-	ka –	Tic-	ka –	Toc-	ka

Now let‘s take a look at a word formula that’s a little more involved. Repeat this word formula several times before applying it to the didge. Use clap sticks to keep rhythm if you like.

1	&	2	&	3	&	4	&
Dowel –	Decka	Dowel –	Eee	Dowel –	Decka	Dowel –	Ooo

At the end of this progression during 'Ooo", I want you to breath. I have found the word syllable “Ooo” opens the mouth cavity and makes it easier to take that quick sniff of air through the nose while controlling the rhythm from my mouth and cheeks.

Notice how saying the word Dowel (pronounced Dow-wool) out loud places the tip of your tongue at the top front roof of your mouth, while saying the word Decka brings the tip of your tongue back to the bottom center of your mouth. You should also notice how the tongue slightly flattens while pronouncing the word syllable “Eee.”

1	&	2	&	3	&	4	&
Dowel –	Decka	Dowel –	Eee	Dowel –	Decka	Dowel –	Ooo

Tones

In music tone often refers to the pitch or duration of a note. In linguistics, tone refers to the change in pitch of the voice. Tone can also be described as the overall mood, feeling or attitude of a person, place or thing. With didgeridoo the tone is described as the part of the rhythm that is created by the throat including the vocal cords. In lesson two, we learned how to pitch the fundamental by humming with our voices. Pitching requires the use of our vocals so therefore pitching along with animal sounds are techniques classified under tones.

For a moment Practice this Australian Kookaburra bird call. Kingfisher birds are very loud birds and to mimic them properly you will need to stretch your vocals out a lot. Pronounce Koo-koo as a high pitched Cocoa, and Ki-ki as a high pitched Key key. For this exercise you can completely fill your lungs with air before exhaling the call. You are looking for a strong vocalization with more volume than you may be used to.

Koo-koo-koo-koo! – Kuu-kuu-kuu-kuu! – Ki-ki-ki-ki!

Now mimic the high pitched laugh of the Kingfisher Kookaburra in place of the word syllables “Eee” and “Ooo”. Try switching back and forth from the bird call to the trill by rolling the tip of your tongue off the top of your mouth. (i.e. Spanish rr’s) The trill technique can also be applied to other wind instruments such as a trumpet or flute.

1	&	2	& (Kuu-kuu)	3	&	4	& (Ki-ki)
Dowel –	Decka	Dowel –	Eee	Dowel –	Decka	Dowel –	Ooo

 

Gut Slaps

In the following exercise you will learn how to take a word formula and add controlled gut slaps to make the rhythm. The gut slap is essentially an abdominal push using the air from your lungs to vary the sound of your rhythm. I often refer to gut slaps as bounce breathes because they add a bouncy feeling to your over all sound.
Gut Slaps are just like the physical act of laughing and the only difference is that due to the back pressure of a didgeridoo the pushing can become a bit more forceful when applying them to a rhythm.

Next practice laughing at the lowest pitch your body can make, (i.e. growling low) and then raise the pitch of your voice while laughing by slightly tightening the throat as your volume increases. You should be able to notice a slight resistance to make the sound in your throat while raising the pitch of you voice through the didgeridoo.

Ha Ha Ha! – Huh Huh Huh! – Ho Ho Ho! – Hee Hee Hee!

Now let us add to some gut slaps to the word formula from earlier. This time try switching each “Dowel” with a gut slap by using the word “Huh!” in place of it. Remember to be quick and forceful with your abdominal pushes as it will help you to stay in time with the measure. This is where using a metronome can be useful for establishing the correct tempo to begin with.

1	&	2	&	3	&	4	&
Dowel –	Decka	Dowel –	Eee	Dowel –	Decka	Dowel –	Ooo

1	&	2	&	3	&	4	&
Huh! –	Decka	Huh! –	Eee	Huh! –	Decka	Huh! –	Ooo

Now try adding tone sounds such as the yapping “Wraa” and “Uunh” of a dingo by superimposing it over the word syllables “Eee” and “Ooo”. Here we have created a rhythm using base sounds, tone sounds, and gut slaps to make a polyrhythm on the didgeridoo.

1	&	2	& (Wraa!)	3	&	4	& (Uunh!)
Huh!l –	Decka	Huh!–	Eee	Huh!–	Decka	Huh!–	Ooo

Lesson 4 - Circular Breathing

The goal of this lesson is to get you on the road to the circular breath

Your time is probably the most valuable factor for achieving the circular breath. This lesson alone may not be enough for you to get it down at first. For some people, circular breathing requires a daily practice, and can be more rewarding than most people are aware of. Through the circular breath we are oxygenating our blood and sending positive charges of energy throughout our entire body .This deep abdominal breathing along with sound vibrations are massaging all of our internal organs, while simultaneously our body is releasing endorphins. Quite honestly, playing didgeridoo and circular breathing is a natural muscle relaxer that costs nothing and is available all the time.

Well, no matter what it looks like, it’s not physically possible to breathe in through your nose and out through your mouth at the same time. Basically, what you’ll need to learn is how to sustain the drone by letting out built up air pressure in your mouth, while simultaneously breathing in through your nose.

Circular breathing in 4 steps

1. While you are blowing air out from your lungs into the didge you will begin to feel the air deplete. Simultaneously, you will be just about ready to take another breath.

2. Just a few seconds before taking this breath puff your cheeks out and close off the back of your throat by pressing the back part of your tongue against the soft area of your palate.

3. Next, breathe in a quick & powerful sniff through your nose, while simultaneously using your mouth and cheek muscles to press out the stored air slowly from you mouth keeping the sound going.

4. As you press the remaining air out from your cheeks allow your tongue to relax, and the back of the throat to open again. Now you will be ready to breathe out through your lungs again. This will complete the cycle and now you can repeat step one.

Observations A & B

As your circular breathing develops you will want to make your inhales and exhales are as even as possible for a couple of reasons.

1. This will give you the endurance you need to play for longer periods of time.

2. It will help you control the sound as you push air out from your lungs, and then out from your mouth and cheeks.

At first it might seem that the sound changes as you go from pressing the air from your cheeks to breathing out from your lungs. This is very normal and happens because the muscles in your lungs are stronger and more developed than the muscles inside your mouth. Also, there is more air by volume in your lungs to control than there is in your mouth with your cheek and mouth muscles. It just takes practice to get the desired balance.

© 2005 Lindsey Dank www.dragonflyrhythms.com

Any Questions? E-mail me at info@dragonflyrhythms.com

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