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Didgeridoo - Construction and play |  | Didgeridoo - Construction and play: Encyclopedia II - Didgeridoo - Construction and play |  | Authentic Aboriginal didgeridoos produced in traditionally-oriented communities in northern Australia are typically made from hardwoods, especially the various eucalyptus species that are endemic to the region. The main trunk of the tree is often harvested, though branches are sometimes used as well. Aboriginal craftsmen spend considerable time searching for a suitable tree to make into a didgeridoo. The difficult part is in finding a tree that has been suitably hollowed out by termites. If the hollow is too big o ...
See also:Didgeridoo, Didgeridoo - Construction and play, Didgeridoo - Cultural significance, Didgeridoo - The modern didgeridoo industry, Didgeridoo - New versions, Didgeridoo - Interesting facts, Didgeridoo - Famous didgeridoo players |  | | Didgeridoo, Didgeridoo - Construction and play, Didgeridoo - Cultural significance, Didgeridoo - Famous didgeridoo players, Didgeridoo - Interesting facts, Didgeridoo - New versions, Didgeridoo - The modern didgeridoo industry, List of Australian Aboriginal musicians, Music of Australia, Circular breathing |  | |
|  |  | Didgeridoo: Encyclopedia II - Didgeridoo - Construction and play
Didgeridoo - Construction and play
Authentic Aboriginal didgeridoos produced in traditionally-oriented communities in northern Australia are typically made from hardwoods, especially the various eucalyptus species that are endemic to the region. The main trunk of the tree is often harvested, though branches are sometimes used as well. Aboriginal craftsmen spend considerable time searching for a suitable tree to make into a didgeridoo. The difficult part is in finding a tree that has been suitably hollowed out by termites. If the hollow is too big or too small, it will make a poor quality instrument.
A termite-bored didgeridoo has a resulting internal surface that creates non-harmonic resonant frequencies. (Unlike the regular harmonics produced by a bored or plastic pipe.) The first overtone is usually around an 11th higher than the fundamental frequency. This quality gives a distinct timbre-the classical didgeridoo sound.
When a suitable tree is found and cut down, a length of the main trunk or a segment of a branch is removed that will become the didgeridoo. The bark is taken off, the ends trimmed, and some shaping of the exterior then results in a finished instrument. This instrument may be painted or left undecorated. A rim of beeswax may be applied to the mouthpiece end.
The didgeridoo is played with continuously vibrating lips to produce the drone while using a special breathing technique called circular breathing. This requires breathing in through the nose whilst simultaneously expelling air out of the mouth using the tongue and cheeks. By use of this technique, a skilled player can replenish the air in his lungs, and with practice can sustain a note for as long as desired. Recordings exist of modern didgeridoo players playing continuously for more than forty minutes, and some currently unsubstantiated claims peg times over one hour.
Other related archives1919, 1924, 1926, Arnhem Land, Australia, Bruce Chatwin, Charlie McMahon, Circular breathing, David Hudson, Graham Wiggins, Indigenous Australians, Irish, Kakadu, List of Australian Aboriginal musicians, Luxembourg, Mark Atkins, Music of Australia, Northern Territory, Oxford University, PVC, Rolf Harris, The Bulletin, Xavier Rudd, Yolngu, aerophone, agave, beeswax, circular breathing, clapsticks, didjeribone, endemic, eucalyptus, hardwoods, harmonics, instrument, metres, mouthpiece, onomatopoetic, overtone, termites, timbre, trombone, trumpet, yucca
 Adapted from the Wikipedia article "Construction and play", under the G.N U Free Docmentation License. Please also see http://en.wikipedia.org/wiki |
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