AJAT LESMANA  DIDGERIDOO PLAYER FROM INDONESIA

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ORIGIN

Choosing a didgeridoo can be a confusing process for the beginner because of the wide variety of didgeridoos available. Beginners that have not yet acquired an ear and eye for the sound and quality of a didgeridoo understandably find it hard to know what to look for.
It is important to start learning on a good quality didgeridoo, because this will offer the most satisfying sounds and will reward you for your efforts. A great sounding, easy to play didgeridoo will inspire you to keep playing.
If you have a poor quality didgeridoo, it will sound bad no matter how hard you try. It may also be very hard to play, to the point where you can't actually make any sounds at all.
This may be so disappointing you give up practicing, never to try again. Therefore, it is very important that if you are looking for a didgeridoo to get started, you make an informed decision and buy one that is easy to play and sounds good.
The section describes many of the features of a didgeridoo that can vary from instrument to instrument to affect its quality and playability. Understanding these features will help you in your selection of a good didgeridoo. Firstly, we need to look at the origin and 'authenticity' of didgeridoos.

Traditional vs non-traditional

Didgeridoos are either traditional or non-traditional. Traditional didgeridoos are made by the aboriginal people from Arnhemland where the instrument originated. These are not called ‘didgeridoos’ and are referred to by their traditional names by the aboriginal people, such as the Yidaki from North Arnhemland or the Mago from West Arnhemland. These instruments were made in accordance with a strong crafting tradition and cultural importance.

Map showing Arnhemland, the heartland of the didgeridoo.

Non-traditional didgeridoos are any other instruments that make the drone sound similar to the traditional instruments. These can be made by aboriginal or non-aboriginal people and come in a wide variety of materials, shapes and sizes.
When selecting a didgeridoo, you may wish to consider purchasing an authentic, traditional instrument to support the traditional makers and the continuation of the instrument’s cultural heritage. If this is the case, you will have to do your research and find a reputable supplier that sells traditional instruments.
For more information on traditional didgeridoos, a good source of information is the Buku-Larrngay Mulka Art Centre, in North East Arnhemland, or the ididj Australia web site.
It may not be possible or practical to buy a traditional instrument. Or, you may not want to play a traditional instrument until you have been taught by a traditional player and teacher. If this is the case, standard ethical and environmental considerations should be made when purchasing your non-traditional didgeridoo.
You will want to consider such things as whether environmentally sustainable methods were used to make the didgeridoo and whether or not the didgeridoo is being sold under false pretences of authenticity.
You will also want to consider the credentials of the supplier of the didgeridoo. If the didgeridoo is coming from a shop specializing in making and selling didgeridoos, it is likely they will have paid more attention to the quality of the instruments they are selling you.
If the didgeridoo is being sold in a souvenir shop along with a myriad of other indigenous paraphernalia, you will have to question whether any regard was given to the selection of the instrument for its authenticity or sound quality. Speak to the supplier; they should be able to talk to you confidently about their didgeridoos and answer any questions you have about the origin and workmanship.
Be aware; didgeridoos sold in most souvenir shops in Australia, along with all sorts of other tacky items, will most likely be a poor example of a didgeridoo. On a recent trip to Canada, at Sydney airport, I was appalled to see what were claimed to be 'didgeridoos' that were barely thirty centimetres long. These would have been completely unplayable.

Avoid buying your didgeridoo at souvenir shops that don't specialise in selling didgeridoos. These didgeridoos are usually of poor quality.
iDIDJ Australia has developed a Cultural Indications (CI) Index which differentiates didgeridoos on the basis of origins and cultural integrity. iDIDJ Australia encourages players to support the cultural heritage of the didgeridoo by purchasing CI 4 instruments - authentic traditional aboriginal didgeridoos hand made and decorated by traditional custodians of the instrument.
Note that this index is used to classify didgeridoos that claim to have aboriginal authenticity. iDIDJ Australia recognises that there are good quality instrument makers out there who do not claim to make authentic aboriginal instruments and do not try to pass them off as one. Check out the iDIDJ Australia web site for more information on their Cultural Indications Index.

CHOOSING A DIDGERIDOO

The mouthpiece

Note: The following section on the mouthpiece and making a sound will be better understood if you have learnt the playing techniques described in this site. This will get you familiar with making a range of sounds and make you more comfortable with testing the mouthpiece of potential didgeridoos.
The mouthpiece is one of the most important yet poorly understood features of the didgeridoo. Many times I have seen a completely playable didgeridoo rendered completely unplayable because of a poor mouthpiece and poor understanding as to what its role is.
The role of the mouthpiece is simple: to alter the diameter of the end of the didgeridoo so a players lips can comfortably vibrate without air escaping from the sides. These conditions will allow the lips to make a good drone.
Mouthpieces are used when the internal diameter of the mouthpiece end of the didgeridoo is too large and needs to be reduced so that air does not escape from the sides of the mouth while playing. Mouthpieces are usually made of either yellow, black or brown beeswax. Black or brown beeswax is the native Australian kind, while yellow beeswax is anything else.
If the internal diameter of the natural mouthpiece (without beeswax) is narrow and comfortable enough for the lips to be placed directly on the didge without air escaping from the sides, a mouthpiece may not even be needed. For this to happen, the natural mouthpiece will typically be 25-35mm in diameter.
Most Yidakis from North East Arnhemland are conical shaped and have very narrow mouthpieces, and as such are generally played without the need for a wax mouthpiece. Indeed, a wax-free mouthpiece is the preferred style for Yidaki players and many other players who believe this offers the most playing flexibility.
Many players feel that wax hinders the connection between the lips and the wood, and that the more direct contact there is with the wood, the more accurate and responsive the playing.
Didgeridoos that are not conical like the Yidaki, that is, those that are more cylindrical, will often have an internal natural mouthpiece that is too large to be played alone. If this is the case, there is no choice but to use wax to reduce the diameter of the mouthpiece.

Consider the natural diameter of the mouthpiece. If it is really wide and you need a huge wax mouthpiece, it may be harder to play. Narrow mouthpieces, like the one on the right, are generally easier to play and maintain.

What to look for

First, check to see if it is actually a beeswax mouthpiece. If it looks and smells like beeswax and feels like it could be molded when warmed, then it’s probably beeswax and is suitable to be used. If it’s something else, it probably won't last long as a suitable mouthpiece, or it may not be mouldable.
You need to consider whether the mouthpiece can be taken off the didgeridoo and replaced with a new mouthpiece in the case it is damaged or you need to adjust it to fit your mouth. This is easily done with a wax mouthpiece but not so easily done with other materials.
Some plastic beginner didgeridoos have rubber mouthpieces for example. These are OK but if it doesn't fit your mouth perfectly, just remove it and replace it with a wax mouthpiece which can be easily adjusted to suit your lips.
When testing wax mouthpieces, first check to see how big the internal diameter of the mouthpiece would be without wax. If it is a lot wider than about 50mm, you might want to reconsider your choice unless you can play it very easily and it has good back pressure. Didges with mouthpieces this wide are generally more difficult to play and have low backpressure. This will make it hard for beginners to get the hang of circular breathing.
Next place your lips on the mouthpiece. If you feel that you have to tightly pucker your lips to squeeze them into a small hole and you are just making a tight, tooting sound then the mouthpiece is too narrow.
If, instead, your lips go deep into the mouthpiece, there is a lot of space around your lips, and you make a ‘whooshing’ sound as you play, then the mouthpiece is too wide.
If either of these are the case, don’t worry, because you can easily adjust the mouthpiece to fit. Just ask the seller first. Warm it up a little with your hands or with some more playing, then gently knead the wax outward or inward with your thumb and index finger, aiming to get an even circumference. For information on this topic, see my page on adjusting and making a mouthpiece.
When adjusting the mouthpiece, your lips should vibrate consistently and fit comfortably so that there are no spaces between your lips and the mouthpiece that will allow air to escape. If air escapes from the sides of your mouth, you are losing pressure in the chamber of the didgeridoo as you blow. This will cause you to lose the all important ‘backpressure’ of the didge.
If you have more time to adjust the mouthpiece, a slightly raised rim around the edge of the mouthpiece hole may help you play a bit better.
Once you have readjusted the mouthpiece, try playing the didgeridoo again and aim to get a good drone sound. If you get a good sound without too much adjusting of the mouthpiece, you can start to explore its possibilities and consider its other qualities as a potential instrument.
If no matter how hard you try with the mouthpiece, you aren’t getting a good sound, you might want to look for a didge that works with you better. If you are really unsure, as with all of these criteria, have someone else play for you to demonstrate the didgeridoo's potential.
If someone else plays some wicked sounds (that can be maintained for a good period) you might want to persevere. Mouthpieces are forever adjustable, so you may just need to do a little more tinkering to get the right shape.
Be careful that your didgeridoo mouthpiece is not too wide. It is a common phenomenon that beginners have a lot of trouble with getting a good drone on their didge because they didn’t realize their mouthpiece was too wide. Subsequently their lips are too loose, they lose backpressure, and find it hard to learn circular breathing.
I would recommend starting off with quite a narrow mouthpiece (around 26mm), then gradually opening it up as you test it and try to get a good drone.
Also be careful that the mouthpiece is not made of too much wax. There are some awful didgeridoos out there being sold with huge clumps of wax mashed onto the end by lazy manufacturers. A large bulky mouthpiece is unnecessary, and serves to distance the lips from the actual didgeridoo, making it quite cumbersome to play and unresponsive to intricate mouth movements. A large wax mouthpiece can also dampen the effect of the sound waves as they travel from the lips.
If the mouthpiece of the didgeridoo does not have a wax mouthpiece and you can play it comfortably without one, then this is already a good indication of a good quality didgeridoo. You may not need to use any wax at all, or just a little to provide some comfort for the lips. Conical shaped didges with narrow mouthpieces are most conducive to easy playing.
Whatever kind of didgeridoo you are considering, just make sure that you adjust the mouthpiece as best as possible while you are testing it. You do not want to disregard a perfectly good didgeridoo just because the mouthpiece is initially not the right shape and you don't know what to do with it.
For more information see my page on making and adjusting a

Playing styles

Traditional didgeridoo

Traditional didgeridoos are mainly used in conjunction with singing, clap sticks and dancing for ceremonial purposes, however they can also be played informally. The instrument is typically played in ceremonies by one young man specially selected for his talent. Playing styles vary between different regions of Northern Australia and often involve fast, complex rhythms with sounds created by intricate tongue work.

The knowledge and rhythms required for each playing style is passed down by word of mouth. Much more information about the history, construction and ceremonial role of the traditional instrument can be gathered from those people and organizations that have a direct relationship with the instrument.

Information on this subject is best provided from these sources. If you would like to know more, a good source of information is the Buku-Larrngay Mulka Art Centre, in North East Arnhemland, or the ididj Australia web site. A visit to Arnhemland would also help your acquisition of knowledge immensely.

While it sounds formal, ‘contemporary didgeridoo’ has no formal playing conventions and is merely a term used to describe non-traditional playing.

Contemporary playing uses various techniques, such as those described in this site, to create a didgeridoo sound or rhythm.  A contemporary player has free range to use these techniques to develop their own unique style of contemporary playing.

People play contemporary didgeridoo for all kinds of reasons, whether it be for meditation, to entertain their friends and family, to produce solo music, to play in a band, or just to create a great sound! The world of contemporary didgeridoo offers a huge range of techniques, sounds, rhythms and playing scenarios to satisfy anybody wishing to learn more about this fascinating instrument.

Well known and very talented contemporary didgeridoo players include:

YouTube links

• Dubravko Lapaine
• Lies Beijerinck
• Zalem
• Si Mullumby
• Hernan Livolsi
• Ondrej Smeykal
• Goma
• Jake Duncan
• Gauthier
• Xavier Rudd
• Marcus Meurer
• Steven Heath

Of course, there are many more amazing contemporary didgeridoo players out there and I need to add more to the list; these are just some of my favourites. Let me know on my contact page if you think other players should be listed (or would like a link yourself!).
These players have taken contemporary didgeridoo playing to a new realm. Their playing is at the forefront of contemporary didgeridoo and is inspiring people the world over with sounds and rhythms you would not think possible when you first begin to play. Let these people be an inspiration as you learn how to play didgeridoo!

ABOUT THE DIDGERIDOO

Didgeridoos explained

A didgeridoo is a modern-day, contemporary version of the traditional woodwind instrument used by the Northern Australian indigenous people. It is essentially any instrument in the shape of a hollow tube which can produce a droning sound through the vibration of one’s lips at the mouthpiece end.
Didgeridoos come in all shapes and sizes and are most broadly categorised as traditional or non-traditional.
Traditional didgeridoos are not in fact called 'didgeridoos' and are instead referred to by their traditional names such as yidaki, in North East Arnhemland, and mago, in West Arnhemland. They are played by the aboriginal people in ceremonies and for other social and recreational occasions.
The making and playing of didgeridoos is a very important part of aboriginal culture and ceremony and the indigenous people remain its traditional custodian.
The instrument is typically crafted from certain types of eucalyptus tree trunks that have been naturally hollowed out by termites. Suitable living trees are selected by master craftsmen who can identify whether a tree is hollow before it is cut. After a tree is felled, it is taken back for curing, before being stripped of bark and shaped into a traditional instrument. During this shaping process, excess layers of wood are often removed to reduce the wall thickness of the instrument and some cleaning out of the bore may be required.
The mouthpiece may also require the addition of beeswax if its natural dimensions are too wide to play comfortably. The instrument is then sealed and usually painted with designs and imagery symbolic to the traditional makers.
For more information on traditional didgeridoos, a good source of information is the Buku-Larrngay Mulka Art Centre, in North East Arnhemland, or the ididj Australia web site.
Non-traditional didgeridoos, on the other hand, are made by people from all over the world using all kinds of fabricating techniques. They are typically between 1m and 3m in length with a bore of 25mm to 50mm, and can be made from many different natural and man-made materials.
A newfound understanding and appreciation of indigenous culture and the spread of information about the instrument has led to a surge in popularity of the didgeridoo. Also, its ability to be played without the need to learn formal music theory has further led to its widespread appeal. This appeal has led to an emerging culture of contemporary didgeridoo playing.

How a didgeridoo works

Theoretically, the didgeridoo is classified as a ‘lip-reed aerophone’. This is an instrument that uses vibrating lips to cause a column of air within the instrument to vibrate and produce a sound.
The unique ‘drone’ sound of the didgeridoo is created from the continuous vibration of the lips in the mouthpiece. As the lips vibrate, air is alternately blocked and released, causing pulses of air, or sound waves, to travel up and down the didgeridoo at a certain frequency and produce the drone sound.
The column of air within the didgeridoo determines the frequency of the sound waves in the didgeridoo, which in turn determines the pitch of the drone.
In woodwind instruments, this column of air is constantly being shortened or lengthened using finger or key holes, so different pitches, or notes, are produced. In didgeridoos, this column of air cannot be adjusted, so its pitch cannot be changed. Therefore, didgeridoos come in one key only generally from a low C to a high F.Therefore, sounds of the didgeridoo are not made by manipulating the body of the instrument, but by manipulating the sound waves that enter instrument at the mouthpiece end.
Didgeridoo players employ many techniques using their lips, cheeks, tongue, jaw, lungs, diaphragm and vocal chords, to do this. This produces the range of sounds that are then carried by the didgeridoo.

The sound of a didgeridoo cannot be changed using key holes, like on a clarinet. Therefore, all the work must be done at the mouthpiece end.
Like any other instrument that plays one fundamental note only, the didgeridoo is used to play rhythms, rather than melodies.
A didgeridoo player can produce a range of different sounds that are variations of the didgeridoo's fundamental note. The sounds can be accentuated, softened, sharpened and given character and colour in a variety of ways. When these are combined to create patterns of sound, they produce rhythms which are the foundation for didgeridoo playing.
The techniques to create these different sounds are described further on this web site. These techniques can be used in all manner of ways to create an infinite range of didgeridoo rhythms. Once you have a good understanding of how these techniques work, you will have free range to start creating your unique rhythms of your own!
For more information on the science behind the didgeridoo, check out the comprehensive study on didgeridoo acoustics by the Music Acoustics department of the University of New South Wales.

CHOOSING A DIDGERIDOO

Sound

Of course, a very important feature of the didgeridoo will be its sound. This can be quite subjective, depending on the personal tastes of each person. However, the sound of a good didgeridoo should generally have a few characteristics you should be looking for.
First, test the didgeridoo by playing it. If you play while your didgeridoo is on a hard surface and facing a hard wall, it will reflect some of the sound back to you, allowing you to hear it more clearly.
Listen to the quality of your basic drone. Then try some of the techniques mentioned in the previous section on playability. Alternate between playing with your cheeks in or out, and move your tongue back and forth as you drone. Listen carefully to how your didgeridoo sounds.
If the sounds of the didgeridoo are muffled, soft, dull or 'hollow', and you can't hear much variation in sound as you try different techniques, the sound quality of the didgeridoo may not be so good and you might want to try another didgeridoo.
If your didgeridoo sounds reasonably loud, clear, sharp and bright, and it offers a basic range of different sounds, then this should be a good didgeridoo to consider, as long as it meets the other important criteria such as playability and backpressure.
If you are having trouble listening to your didgeridoo as you play, try to get someone else to play for you, and stand facing the bell end. Have a good listen over a couple of minutes to determine whether the sound appeals to you.

Key

Didgeridoos have a single pitch, or key, mainly determined by the length and internal dimensions of the instrument. Most well made didgeridoos are tuned professionally by the maker, so they can be played in harmony with other instruments.
Commonly available didgeridoos generally fall within the range of C to F, although they can go higher or lower. Longer or wide bored didgeridoos (with a large volume within the chamber) play in a low key, while shorter or narrow bore didgeridoos (with a smaller volume) play in a higher key.
Lower key didgeridoos, with the greater volume of air inside the didge, require more air to be blown into the didgeridoo for the lips to vibrate. This contributes to a lower backpressure didgeridoo.
Different keys have certain characteristics that will suit different players. Those looking to play low, earthy, bassy drones in a slow and meditative way will prefer the lower, warmer drone of the lower keyed, C or D didges.
Those wishing to play sharper, snappier rhythms will prefer the bright, crisp drones of the higher, E or F didges. Those looking for didges in the mid-range will enjoy D didges for their diversity.  D, E or F didges are best for beginners to learn on, as they offer best playability. See the chart and listen to the audio files below for a better understanding of didgeridoo keys.

Chart showing the relationship of commonly available didgeridoo keys to the sound of the drone and the capability for playing fast rhythms.

							G
						F
					E
				D
			C
		B

This relates to the chart above. Click on the buttons to hear how the pitch and playing speed is affected by the key (indicative).
Higher key didgeridoos have less volume of air inside them, so they don't require as much air to be blown into it to play. This creates a higher backpressure didgeridoo.
Because higher key didges require less air to play and generally have good backpressure, they are good to start out on, and are easier for learning circular breathing where conserving your air is most important.
Advanced players will make great sounds on any didgeridoo, although they would also tend towards the higher keyed E, F or G didges if they are looking to play fast, complex rhythms. Lower keyed didges, while great for making powerful, rumbling, meditative drones, are not conducive for fast, intricate playing.
Personally, I enjoy playing higher keyed didgeridoos because they allow me to play faster rhythms. I started playing with a D key didgeridoo, but eventually moved to highger key didgeridoos when I wanted to play more advanced rhythms. I also like the higher pitch of the E and F didgeridoos and the level of energy it offers. These higher keys also have the ability to cut through distracting noises when you are playing for an audience and have a lot of impact. I also find E and F didgeridoos to offer the most diverse range of sounds.

ABOUT THE DIDGERIDOO

Women and the didgeridoo

There is much debate over whether women can play the didgeridoo and it certainly has caused its fair share of controversy on occasion. When book publishers Harper Collins published 'The Daring Book for Girls' which encouraged girls to play didgeridoo, and when Nicole Kidman 'played' the didgeridoo on German TV, media attention fuelled the controversy.
This media attention, as always, perpetuated the idea that it is taboo for women to play the didgeridoo and that harm could come to them as a result.
So can women play the didgeridoo? As I am unqualified to comment on this sensitive topic, I will instead quote directly from the web site of Buku-Larrngay Mulka Art Centre and Museum, the primary cultural centre for Northeast Arnhemland:
"It may differ in other Aboriginal communities, but in the Miwatj, the majority opinion is that no harm will come to women who play. Playing for fun is a simple physical activity, not a dangerous spiritual one. But, most importantly, by law and custom, Yolnu women do not play yidaki. So the best advice for non-Yolnu women is to make your own choice for what you do on your own time, knowing that there are some Yolnu who would encourage you to play.
But be very sensitive about who you are with. If you are in Arnhem Land or in the presence of people from Arnhem Land, carefully check that no one will be upset before playing."
Quote taken from: http://www.yirrkala.com/yidaki/dhawu/35miyalk.html
Furthermore, ididj Australia, an important Australian didgeridoo cultural hub, has also commented on this issue:
"Despite the didjeridu being a male-oriented instrument in Australian Aboriginal culture, non-Indigenous women around the world have begun to explore the musical possibilities of the didjeridu.
There is a diversity of opinions relating to this among Aboriginal men, ranging from encouragement and amusement to indifference and downright scorn.
Generally, Aboriginal men in 'Top End' communities do not have a problem with non-Indigenous women playing the didjeridu. They reason that the cultural rules and conditions that govern behaviour in Indigenous society do not apply to non-Indigenous women, which are bound by their own set of Western laws and moral codes."
Quote taken from: http://www.ididj.com.au/theDidjeridu/play.html
For those women out there looking for some encouragement, look no further than Lies Beijerinck, the 'didge mother of Holland'. Lies leads the way in contemporary didgeridoo playing and provides a great example to all women didgeridoo players out there looking for inspiration.

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In summary

Aboriginal women generally do not play the didgeridoo as dictated by aboriginal custom.
Sources from within respected aboriginal groups who are custodians of the didgeridoo generally state that non-aboriginal women can play the didgeridoo.
Care should be taken so as not to offend aboriginal custom by playing the didgeridoo in the wrong setting or context.