A didjeridu is a drone pipe made by various Australian Aborigine peoples in northern Australia, particularly around Arnhem Land. Despite the fact that didgeridoo is a common spelling, the Australian government has decided that didjeridu is the correct spelling of the instrument’s name. It’s also known as yidaki.
There are many dijeridus on the market today that are considered fakes because they are not made by Aboriginal artisans. Termites hollowed out 4 to 6 foot (1.2 to 1.8m) lengths of tree trunk are used to make authentic instruments. Eucalyptus varieties are frequently used. The pitch of the instrument is determined by the length of the shaft. The logs are cured, and a beeswax mouthpiece, as well as carved or painted decorations, may be applied.
The didjeridu can be played using a variety of techniques, both traditional and modern. One way to distinguish between the techniques is whether they produce overtones or not. Some techniques require blowing with the tongue, throat, and diaphragm manipulating sound. While some techniques call for simultaneous blowing and singing, the dijeridu’s most well-known technique is circular breathing, which allows the player to make a continuous sound without pausing to breathe.
Didjeridu can be played standing or sitting. The instrument’s end can be held close to the ground, propped on the player’s foot, rested on the ground, or placed in an external resonator container. Didjeridu is usually used as a background instrument, providing a drone and rhythms that are essential to the performance. Clapsticks, another Aboriginal instrument, are frequently used in its accompaniment.
Recent works for didjeridu and orchestra include Philip Bracanin’s Dance Gundah, Peter Sculthorpe’s Songs of Sea and Sky and Requiem, and George Dreyfus’ Mr. Lewis Comes to Wuppertal. Djalu Gurruwiwi, William Barton, David Hudson, and Mark Atkins are all well-known didjeridu players. Yothu Yindi, a popular band in the 1990s, is also worth mentioning.