1 - "...the precise number of tribes and languages is unknown, but it is commonly thought that there were hundreds existing at one time. About thirty languages are considered prominent today." Eckart Rahn, from liner notes for "Rainbow Serpent", David Hudson, 1994, Celestial Harmonies, PO Box 30122, Tuscon Arizona, 85751
2 - "The resemblance between the words yiki-yiki and yiraki (or yidaki), the latter the name for the didjeridu in north-eastern Arnhem Land (Yuulngu) languages claims attention. According to information obtained from a Yuulngu man from Yirrkala, yiraki meands 'emu's throat'." p. 328, World Archeology,
3 - "The inside word for 'didjeridu' used by the Yuulngu in the Djalambu (hollow-log) mortuary ceremony of the yirritja moiety, is djalupi. Remarkably simular are the following two exoteric words obtained for the instrument: djalupu (Ranjbarngu language) in aera 'N' and djalupun (Worora Language) in area 'K'." p. 328, World Archeology, Vol 12 No. 3 Musical Instruments, Copyright R.K.P. 1981 Alice Moyle, "The Australian didjeridu: a late musical intrusion.
4 - T.B. Wilson, "Narrative of a Voyage Round the World", 1835
5 -Mary Ellen Donald,"Arabic Tambourine, A Comprehensive Course in Techniques and Performance for the Tamborine, Tar and Mazhar",1985. Mary Ellen Books, PO Box 7589, San Franciso, CA 94120-7589.

The patterns for this exercises where derived by transposing the Riqq exercises in this book into bass clef and applying double tongue phonetics to the beats outline. I highly recommend this book for anyone interested in Arabic rhythms. It is available through Earth Shaking Music in Atlanta GA.

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Side 2 Band 1 b.

"Borroloola, N.T. The second sample of didjeridu playing is by a woman, Jemima Wimalu, who belongs to the Mara group at Roper River. Not only is Jemima able to perform A-type accompaniments but, as she demonstrates here, she is also proactised in playing didjeridu accompaniments of the B-type. It will be noted in her demonstration that the rythmic patterning incorperates an overblown or "upper" tone about an eleventh above the 'drone'; also that voiced effects, which mingle with the aerophonic or blown tones of the didjeridu, enrich some of the lower tones. Other characteristic B-type effects include (a) a commencing staccato sound (other players may produce more than one, compare Band 3d); (b) a following sustained and 'trilled' sound; and (c) a terminal 'upper' tone.
Tempo is controlled by beating a stick against the didjeridu tube. Mouth sounds demonstrated by Jemima are also accompanied by a beating stick. (notation 18). "

Moyle, AM. (1978) Companion booklet for a 12-inch LP Disc, Aboriginal Sound Instruments, Cat. no. AIAS/14, produced by the Australian Institute of Aboriginal Studies, Canberra. ISBN 0 85575 072 3. P.17