A news letter  for Didjeridu players     Feb. 96                                                                               Volume # 002 Issue 2
 Corroboree

 Corroborees usually consists of music and dancing.  A Wonga is a form of 
corroboree song which may or may not include dancing. In the Wonga of the 
Wgraitji tribe (coastal regions near Darwin), an uninitiated youth is brought 
back from a "round" of adjacent groups and tribes.  It does not include 
dancers , rather it emphasizes reflection. The procedure involves his home 
group gathering nightly in a secluded spot. The songman, with his rhythm 
sticks and his didjeridu player seat themselves near one side of a fire. 
The women and children sit opposite the fire. The wonga song is a wailing 
chant featuring descending glides of notes. There are long  pauses in the 
song to allow reflection on the memories of the absent youth and the lands 
which he has passed through during his initiation. Women intermittently beat 
time using cupped hands clapped against their thighs.

 Amongst other groups, the wonga song style is sung to vigorous dancing. 
On ceremonial occasions, dancers are painted with traditional patterns. 
Wongas may be both "public" or "secret" as in the case of certain initiatory 
ceremonies.

 The didjeridu rhythm can be emulated by mouthing the phrase 
"Didero-did-it-ro-didero" repeatedly. There is one variation to that 
rhythm thrown in occasionally, "Didero-didit-didero".

 Examples of the Wonga singing style and didjeridu accompaniment can be 
heard on the CD Bushfire as well in many field recordings done in various 
locations from Anson Bay in the far north down to the Beswick Government 
Station.

 In contrast to the wonga song style, the Nyindi-Yindi corroboree features 
the didjeridu  accompanying vigorous, precise dancing which interprets 
events, animals or spirits. The song mans chanting is secondary and almost 
unheard over the rhythmic didjeridu part which pulls the song along to the 
click sticks which are struck loudly.

Many examples of Corroboree music are available. The aforementioned
"Bushfire" is available on cassette and CD. Bamyili Corroboree is 
wonderful cassette collection of dance songs which feature virtuoso 
didjeridu by David Blansi. "Rimijmara" is a cassette which features 
16 initiation songs in the wonga style. 

Rhythms...
In listening to aboriginal music, a wide variety of rhythmic patterns can be 
appreciated and classified by the relationship between the song man's rhythm 
and the rhythm of the didjeridu. Often, the singers with their accompanying 
sticks follow a regular rhythm while the didjeridu player pursues an 
unmeasured rhapsody of harmonics and sound. Listening to this style of 
playing creates the impression that the song and the didjeridu exist on 
completely different planes with no obvious connection between the two. 
Another rhythmic style is created when the singers follow one metre while 
the didjeridu player follows a different one. For example, the didjeridu 
player may be playing a simple duple rhythm like a march, while the singers
and stick players are following a 3/4 (e.g. - waltz) pattern. The didj's 
two beats occupy the same time period as the singers three.
Perhaps my favorite patterns occur when the rhythmic construction alternates 
between two time signatures. For example, a measures of 2/4 and 6/8 are 
alternated. A further and even more interesting variation is when the metre 
is "additive". For example : 2/4 + 3/4 = 5/4 
This "additive" metre may be rather complex and difficult to sort out. 
Consider a 13/8 time. This metre is achieved by combining three measures of 
3/8 time to one measure of 4/8 time into one phrase.

The Didjeridu's Role...
Traditionally, the didjeridu is used to provide introductions and interludes 
as well as accompany the singers as dancers. Also,  the player may use 
elaborate coded instructions to the dancers to direct changes in their 
step pattern. Although, tradition is important for certain "classics", 
individual improvisation and embellishments are allowed. Styles of playing 
varied greatly from region to region. These variations include humming 
the tenth above the fundamental, powerful triple and double tonguing 
(Groote Eylandt) and the use of overtones (especially in North Eastern 
Arnhem Land).
Both the distribution and styles of playing are changing rapidly today. 
The didjeridu is not an interesting artifact of Aborginal culture, but 
rather a vital and living practice of great value to them. It is a unique 
expression of musical creativity.  

Try this....

With a little practice, you should be able to pass the tip of your tongue 
between your front teeth and vibrate it against one or both of your buzzing 
lips. This produces a raspy sound. Experiment with "huffing" the air  from 
the chest and you may find you can add a fairly realistic bee or fly sound 
to your list of imitations.

Didjeri News is published by Australian Originals  28 SW 1st, Portland, Oregon  97204 (503) 228 4484




	MARCH 4, 1997