This is part one of a growing range of courses that will teach you how to play this wonderful instrument!
This course will take you from complete beginner and end with a clear control over your sound, the basics of making other sounds and effects and, of course, circular breathing.
Parts two and three will take you right through to professional level playing.
Clear Lectures / Videos.
It's available for PC or MAC and there is an iPad and iPhone app ready to go!
(Android app is coming soon).
Keeping track of which videos(lectures) you have already watched is so easy.
Udemy has a great way of keeping track of your completed lessons(lectures).
The entire course is organised in step-by-step and easy to follow layout.
Hello from your instructor - professional Didgeridoo player and teacher Jonny Cope!
Have you ever wanted to play the didgeridoo? Well now's your chance to learn with this comprehensive set of lecture / lessons. This expanding range of tuition material is all you will ever need to work your way up to playing the didgeridoo like a pro.
I've been a professional didgeridoo player and teacher for twenty years and I've taught many thousands of people how to play this great instrument. My best-selling range of tuition materials (book, CD and DVD) have been bought by over 30,000 people! So I'm pretty confident I know what I'm talking about and that I can help YOU learn the didgeridoo too!
In fact I'm so confident that I can help you these courses have a 30 day money back gaurentee.
If you don't think they are helping you can jump out and get a full refund.
By signing up for this course you will get instant access to a huge range of tuition that you can even dip into on the move as Udemy supply apps for iOS and Andriod phones and tablets.
Although there is plenty to keep you going for many weeks or months it doesn't end there! - the course will continue to expand as I add more material. Now all this work needs to get paid for so the course price will slowly increase to cover this extra material BUT NOT IF YOU JUMP IN NOW!
By signing up you are paying for 'lifetime' access so all the extra content costs you not one penny extra!!
So dive in NOW and learn to play one of the coolest instruments out there with me, Jonny Cope.
Getting the most out of these lectures.
Take a quick look at all the features Udemy offer to help you get the most from these lectures including a few not so easy to find sections with extra content.
My hope is that, once you enroll on this course, you will take one lecture per week so that you have plenty of time to practice and perfect each technique before moving on. Most folks have busy lives so I find with my 1-2-1 students that this interval is about right for most. If you have more or less free time you may with to spped or slow the pace a little but PLEASE try not to rush through. It's not a contest and I really want to help you play really well so a good control of each technique is pretty vital to that process. It's easy to think 'oh yeah I know that already' or 'I've got that down' but check in with each section and be sure you reproduce the examples well (and feel free to be better than me!) before taking the next lecture.
This is especially important if you already have some skills. I have worked with all levels of players over the years and it is the more advanced ones that sometimes struggle to add a new technique to their repetoire. Learn it all at the beginning and you won't look back! Some stuff might seem basic or straight-forward but give it a try before moving on. I hope my style of teaching is pretty comprehensive as I've worked with so many different folks at different levels and I pride myself on the ability to really break things down into their simplest components for easy understanding.
What is a Didgeridoo and where do they come from?
The Australian Aboriginal culture, whom we must thank for sharing this great instrument with us, is thought to be in excess of 100,000 years old and it is quite possible that the didgeridoo is the oldest woodwind instrument known.
Traditionally, didgeridoos (Yidaki) can be made from several types of eucalyptus tree which grow wild in much of Northern Australia. The trees are naturally hollowed out by termites, who eat up through the tree's soft centre. It is these hollow trees that are selected by the Aborigines (Yolngu), cut down and turned into didjeridoos or Yidaki. They are used by Aborigines for secret ceremonies, initiation rites and social gatherings or ‘corroborees’.
Outside of their traditional use, didgeridoos are finding a great following amongst people all over the world. The instrument has an amazing ability to invoke images of a tribal past, through the didge's primal drone sounds. Playing or listening to the rich harmonic sounds made by didgeridoos, of many types, can be both relaxing and invigorating, whilst the circular breathing used to allow continuous playing often leads to a deeply relaxed and meditative state. Medical research has shown that didge playing can lower the heart rate and blood pressure, as well as being useful for bronchial problems like asthma and sleep apnea.
How to choose the right instrument for you so that you can make progress quick and easy.
You will find many types of didgeridoos available but only a few are OK - let's look at the options:
Getting the mouthpiece right really helps, especially early on.
Let's get started - making the basic drone sound.
We can start getting the lips to buzz freely - let's do this without the didgeridoo for a while. Then we can move to the didge and learn how to stabilize it.
How can we improve the drone sound?
What is the best key or note to play didgeridoo in?
Personal preference plays a large part in your choice here but there are a few considerations:
Good posture = good technique = good playing!
You will find it very hard to have good tone or sustain if you are sitting hunched over. Try to sit on the edge of your seat so that your hips tilt forward a bit. This helps straighten the spine and ensure that the diaphragm has a free range of motion, along with the ribcage and lungs being able to work at their optimal capacity.
Try to keep the shoulders low and relaxed and not all tensed up. Making sure your didge is held at the right angle helps this.
Your head should be facing forward and not tilted too far down or up, looking at the floor is bad. Keeping the head up and neck straight will further help airflow and ensure that the jaw, cheeks and lips can all move around freely without undue tension.
You will have great fun learning to play didgeridoo but it can even help your health, here's the sort of benefits you can discover:
How to improve your tone and length of note.
Using the good posture we learned previously can really help our sustain (length of note) but here are some other pointers:
Some common problems and how to overcome them.
Common problems include:
Okay so let's see what skills you've acquired from this first section...
If you feel you are still having issues with anything PLEASE try not to move on to the next section just yet. Time spent now making sure everything is well controlled and understood will stand you in good stead later on.
What are the Five Engines? and how do I use them?
I came up with the term Five Engines when I produced my didge tuition DVD back in 2007 as a way to describe the way we use parts of the body to influence the sound of the didgeridoo. I split them up into:
How to isolate and strengthen the diaphragm - one of the most important muscles for playing the didgeridoo.
Building speed and strength into the diaphragm.
Once again, this is central to good quality playing so really work at this one!
Making sure the cheeks are both flexible and strong and that we have good control over their use.
Not only can we make some great effects with the cheeks, this kind of control is really important when it comes to circular breathing.
More on the huge array of subtle sounds that can be triggered by the tongue.
Using the tongue in a sophisticated way is often overlooked even by accomplished players so make sure you are not one of them! The trick here is to ensure that the cheeks stay flat as this ensures the sound comes through cleanly and with good volume. Once this is achieved there is almost no limit to the variety of changes that can be made to the basic drone by using the tongue.
Getting the tongue moving!
How to make very rapid pulses with the tongue.
This is so simple yet sounds really cool! I have been told that the ability to trill the tongue is, in part, genetic and that something like 40% of the population cannot do it. If you are one of those don't despair there are still thousands of other sounds you can achieve!
Using the tongue to create faster sounds.
Ever heard a didge player that made very fast sounding rhythms? Chance are they are using this simple technique which can make you sound pretty impressive pretty quickly!
You can access this technique very quickly without using a didge by simpy saying 'Takataka'. When use use consonants like T D G J L your tongue will tap or bounce off the back of your teeth or upper palette. This interruption of the airflow is small and quick but sounds great on a didgeridoo!
Starting to use the voice for extra effects.
This is a simple slide from low in your range up to as high as you can go. Try to do this in one breath but if you cannot then try to come back in on the same pitch you left off at when you stopped for a breath. As your sustain improves you will be able to achieve it in one go and even go up and back down again.
Go slowly if you can and notice all those crazy effects as the sounds pulses and throbs. Without getting into heavy physics and acoustics what is happening is that the fixed pitch of the didge drone is creating interference patterns with the pitch of your voice. When your voice has the same pitch as the didge the sound will appear very 'full' and resonant. As you move away from this pitch you may notice a wonderful 'wobble' or 'growl' almost like a truck engine. This is discord cased by the pitch of your voice 'fighting' pitch of the didge and partially cancelling it out. I love this effect and I think you will too, not many didge players use it too often or have fine control over it.
As you move up the range of pitch of your voice you will experience many of these 'zones' of harmony and discord which are great to play around with. Go explore!
Engaging the higher voice.
If you are female (and I encourage more female players in a somewhat male-dominated arena) then you will probably have no trouble reaching into fantastically high vocal sounds. If you are male then 'tough' you will probably be in for some work to access these sounds! Luckily it seems easier to get into a high 'scream' vocal when you have the back-pressure of the didgeridoo to push against. I can get alot higher on the didge, with my voice, than I can comfortably go when using my voice vocally without a didge.
Take it slow and steady and work at getting a nice clean and clear high vocal without straining your vocal cords.
Note: As with ANY technique that you add to the drone this will 'steal' airflow away from the drone so you will need to add some extra diaphragmatic pressure to help support the drone and keep it stable and strong.
Animal calls and sound mimicry.
Australian Aboriginal (Yolngu) peoples use high vocals to mimic animals and objects that feature in their lives:
The importance of using the jaw and the lips for fine control of sounds.
If you have worked diligently through all the previous lectures then you will have achieved pretty awesome control over your lip but here are a couple of isolation exercises that work on these even more:
Okay so what have you learned? Have you got good control over all those techniques?
Every time you practice you should spend a minimum of 10 minutes isolating the Five Engines and ensuring you have good control over them:
The more time and effort you put in on these you more you will be rewarded later on, they are the building blocks of pretty any much any technique you have ever heard on the didgeridoo.
What is circular breathing and how do we achieve it?
The real magic of the didgeridoo is the sound that never stops - people cannot see how it is possible!
It is NOT possible to breathe in and out at the same time so you must adapt the body to engage this simple but surprisingly complex method. This technique is the one that causes most people trouble. I have worked with many people of a long period of time to really get to the 'nitty gritty' as to what makes this technique easier to learn.
It is all a 'trick'. Our body controls our breathing 24/7 at a very deep sub-conscious level so we need to find ways to go in and take careful control of this mechanism. I have found this process is very analogous to learning to drive a manual (stick shift) car. At first, any time we push in the clutch pedal it can be a struggle to co-ordinate the movement of the gear stick with the release of the clutch pedal - leading to a frustrating 'kangaroo' bounce along the road in the car!
I will start with VERY simple exercises that can be tried pretty well anytime and will not need a didgeridoo.
Getting started with circular breathing.
Put down your didgeridoo, you don't need it for this exercise.
We need to re-educate the body / mind as to what is possible with the breath mechanism:
* Now is the time to discover if you have clear nasal passages and sinuses or not! If you have problems getting air in through your nose then circular breathing will be a real challenge. See the PDF download for ideas on how to solve this.
Let's start using the didgeridoo with these techniques.
Okay so now the next challenges:
This is the process of CB but with gaps between the spit sound and the normal drone.
Starting to close the gaps between breathing and sniffing.
As we saw in the previous lecture, we can create a cycle of normal blown drone / spit&sniff / normal blown drone, etc. This becomes CB but with gaps, now we must start to close up those gaps and create the continuous drone we are seeking. Here are a couple of ways to achieve this:
Smoothing out the gaps and creating a smooth sound.
Okay so if you have put in plenty of practice you probably now have a cycle of drone - spit/sniff - drone that has started to join up into a continuous sound. Maybe it is a bit 'lumpy' or you can only maintain it for a little while before it breaks down. Let's look at improving further.Watch this lecture and try to follow along with me at various speeds.
Practice, practice, practice!
If you are really serious about playing didgeridoo then good control of CB (circular breathing) is pretty essential so really put the hours in to make yours solid and dependable. There are a few people who are very lucky and CB comes naturally to them in just a few days but most folks take at least 2 weeks to really get it happening well.
If you have a busy life and cannot practice on the didge every day then at least try to practice without one, I'll show you how in this lecture.
Further refinements and improvements.
If your CB is progressing really well then you might not need this technique but check it out anyway as it is pretty useful in other ways.
You will have worked out or noticed then when you make your CB transition, from blowing to squeezing and back, that you need to close and open the back of your throat. This is achieved in part by your soft palette at the upper back of your mouth but your tongue plays and important role too. The tongue has to move to the back of the throat so that the rear part of your tongue can close with your velum. When you go back to open-throated blowing the tongue must move back away from the rear of the mouth.
I call this motion 'piston tongue' as the tongue moves back and forth like the piston in an engine. If we can isolate and control this motion we can make big improvements to our CB transition.
Try to play your normal drone with your tongue slightly forward near the back of your teeth. The, when you go to make an inhalation/sniff with your CB, your tongue jumps rapidly back to close with the velum / soft palette. Aim to make your sniff very short as before and shoot your tongue back forward as fast as you can.
This way our tongue rests in a forward position during most of our playing (unless we are using for other techniques) and makes this rapid back and forth motion for only the time it takes to take a rapid sniff in.
How to create circular breath without using the cheeks.
This more advanced technique can be very useful if we want little interruption to the drone quality or if we needs the cheeks flat for techniques like harmonics or fast tongue articulations.
We will learn how to use the upward motion of the jaw to provide the burst of air, with a closed throat, whilst we sniff in.
How to make it effortless and what happens when you run into problems.
Breathing when you need to.
Most didge players start out playing patterns or phrases and just breathing when they feel the need.
This will be demonstrated in this lecture, along with it's good and bad points.
How to create more complex patterns by using this technique.
As we have seen with 'on demand' breathing we can be limited to the need to pull in air at certain points and finding breaks can sometimes be a challenge. On demand breathing can even create breaks where we don't want them.
The technique of pulse breathing overcomes these issues and can free the player to play different timings and patterns more freely. It also allows increasingly rapid playing.
Check your progress before moving on.
Hello - my name is Jonny Cope but everyone calls me 'The Didgeridoo Man'.
I have been playing didgeridoo professionally for over twenty years, am the author of a best-selling range of tuition materials and have taught thousands of people, young and old, to play the didgeridoo. My tuition method has been published as a book since 1999, a cassette (if anyone remembers those!), a CD, and a DVD in 2007. These have been distributed the world over and reached and helped tens of thousand of people.
I also use and teach a variety of other instruments and techniques: Overtone singing, Throat singing (also know as Khoomei), the Jews Harp, ethnic winds and flutes, small percussion, etc.
I have published book & CD tuition methods on Khoomei / overtone singing and playing the Jews Harp.
Students taking my course may contact me via the forum on each course with questions or comments and I'll get back to you as quickly as I can.
Having studied with several well-known international players and Australian Aboriginal Elders, I have been teaching all levels of this increasingly popular instrument for the past fifteen years via international workshops, 1-2-1 lessons and even Skype webcam.
I have given performances and presented workshops at music festivals and events, corporate team building days, charity balls, weddings and family fun days throughout Europe. I also regularly teach in UK schools via my educational program.
My clients include many blue-chip companies, schools, education authorities and charities, not to mention a few famous folks (no I can't drop any names!).
My Youtube channel has had nearly 3 million views with 3 thousand subscribers.
Basically I've taught so many people with my methods that I'm pretty darn confident that I can help YOU too!
So confident that I'm offering a 30 day money-back gaurentee with Udemy.
Take the course and if you feel it is genuinely not helping then you can easily just stop and get a full refund.
So go ahead and dive into a course that will take you on a wonderful journey of discovery with this amazing and under-rated instrument and wow your friends with your amazing new skills!