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May 11, 2006

The Art of the Didjeridu
Artist/Collector:	Trevor Jones
Label Information:	Wattle Ethnic Series, No. 2LP - Wattle D-4
Media Type:	LP
Year:	1963
Availability:	Out of print

Track Number	Track Title	Track Time	Notes
01	Tone Patterns	0:02:32	Didjeridu by Trevor Jones
02	Breathing Techniques	0:01:41	Didjeridu by Trevor Jones
03	Tone Combinations	0:01:19	Didjeridu by Trevor Jones
04	Special Effects	0:01:50	Didjeridu by Trevor Jones
05	Characteristic Rhythmic Patterns	0:04:54	Didjeridu by Trevor Jones. Short examples of nine characteristic patterns: the first four (Wadamiri, Djerag, Djedbangari, Mulara) belong to the overall north-eastern style known as Bunggal, and use the larger didjeridu. The next two (Gunborg, Gunbalanya) come from the central Arnhem Land region, near the coast, and also use the larger instrument, and these are followed by two (Wongga, Nyindi-yindi) that are typical of Lira style of the west, involving the smaller tube. The final pattern (Ubar) which also makes use of the smaller didjeridu, has traits of both western and central styles.
06	Solo Didjeridu Playing	0:08:40	Recorded by Trevor Jones in Sydney and Perth of non-fully professional players who visited these cities for conferences of various kinds. First six solos are of the north-eastern Bunggal class using the blown overtone, both staccato and "hooted", croaked notes, and pulsating fundamental. The next two songs are Wongga songs of the western Lira style, and make use of the continuous fundamental with varied timbre and the chordal superimposition. Finally an Ubar accompaniment, first played and then chanted, using the special stylised speech devised for imitating the actual sound of the instrument.
07	North Central Arnhem Land Corroboree	0:00:31	Recorded by Lester & Betty Hiatt, Arnhem Land 1960. Manigai, essentially north-central in style, using the continuous accented fundamental; in addition, however, they break the continuity with the "hooted" overtone, a trait typical of songs from further east. They therefore bear traces, in their didjeridu patterns, both of the Gunborg and Gunbalanya and more particularly of the mortuary songs of the Mulara and Ngorunngapa types.
08	North Central Arnhem Land Corroboree	0:00:44	Recorded by Lester & Betty Hiatt, Arnhem Land 1960. Manigai, essentially north-central in style, using the continuous accented fundamental; in addition, however, they break the continuity with the "hooted" overtone, a trait typical of songs from further east. They therefore bear traces, in their didjeridu patterns, both of the Gunborg and Gunbalanya and more particularly of the mortuary songs of the Mulara and Ngorunngapa types.
09	Central Arnhem Land Corroboree	0:01:46	Recorded by Lester & Betty Hiatt, Arnhem Land 1960. Borog song, more decidedly central in style, being from the western side of the Blyth River, and are also similar to the Gunbalanya in their didjeridu rhythms. This one bears the unmistakable western mark of the rhythmic use of the "hummed" chord.
10	Central Arnhem Land Corroboree	0:01:48	Recorded by Lester & Betty Hiatt, Arnhem Land 1960. Borog song, more decidedly central in style, being from the western side of the Blyth River, and are also similar to the Gunbalanya in their didjeridu rhythms. This one is from the west of the Liverpool River and exhibits even more clearly than the previous, the essentially "central" use of an evenly accented continuous fundamental with whole-tone rise in pitch, as in the Gunborg type.
11	Secret Ceremonial Didjeridu (RESTRICTED)	0:01:30	SECRET Recorded by Lester & Betty Hiatt, Arnhem Land 1960. From a secret ceremony involving Yulunggur, the Water Goanna, in which an enormous didjeridu nearly 12 feet long represents the spirit of Yulunggur. Because of its extraordinary size, the sheer amount of wind needed to sound its fundamental precludes any kind of continuous note or elaborate patterning, and so a regular series of short, deep blasts must suffice. The awesome sound emitted is, however, of such intrinsic interest, being pitched on bottom C (32 cycles per second), that the lack of rhythmic invention is unimportant in this case.