iDIDJ Australia Didgeridoo Cultural Hub

Hi, I keep reading that the difference between NEAL and WAL, is that NEAL used 'overtones', and WAL does not.
I also keep reading that an 'overtone' is a 'toot'.
So, is the term 'overtone', as it's being used to differentiate the WAL and NEAL styles, referring to a literal 'toot'? Is that all it is? When you quickly stop the drone and throw in a toot, or is there more to it.
Also, if the overtone is a 'toot', does that mean WAL is NEAL, but without a toot. or is there something also unique about WAL that separates it from NEAL in it's own right?
Sorry for such a basic question, but i am brand new to the world of Didgeridoo. Thanks, Adam.

Hi Adam and welcome aboard.
Yes you're right : Overtone = "toot"... or rather "dup"
Dup is a short toot triggered with the tip of the tongue.
And no you're wrong : WAL isn't NEAL without the dup... the vamps typically used in WAL (di ta mor di ta mor debor) are not the same than those typically used in NEAL style (dup pu dirrl lo, witj-tju, dith-tju...)
Check iDidj youtube channel to hear what I mean : Darryl Dikarrna or David Blanasi for WAL, and most of the others for NEAL.

Hey Adam, good questions there, check out the following link, its the Blue Bamboo Project with different players playing the same instrument, there's WAL and NEAL in there for comparative purposes:

http://www.youtube.com/watch?v=yyBjdqBj ... DBFE59FC68

Guan

Do I hear some people tooting with a mago?
Or are magos played without the overtone?

Magos ought to be "tootless" (or should I rather say "areas where the instrument is called mago")... but BlueBamboo is not a mago, is it ?
And even if it was, it is played by players who do not necessarily come from WAL.
And by the way, there are some other regions where mago-like instruments (short and more or less cylindrical) are played using the toot (Port Keats is one of these places, central ArnhemLand too I think).
Aboriginal world is complicated, it's not manichean, yidaki/mago, typeA/typeB... more complex !

The two distinct styles (Type A and Type B) were created by Alice Moyle with regard to the music of the area. One used the toot in their traditional didjeridu accompaniment (what we refer to as NEAL and Moyle called 'overtone present' or Type B) and one did not (what we refer to as WAL - Moyle called this 'overtone absent' or Type A). These are broad distinctions and don't refer to the rhythmic structure of the playing and other characteristics that may be related or dissimilar.

Here's something I wrote some years ago on another forum:

Mago belong to the Ethnomusicologist Alice Moyle's 'Type A' classification of accompaniment in which the 'toot' or blown overtone is not used in the didjeridu playing styles of the area. This type of instrument is used by the clans of Western and North Central Arnhem Land and affiliated areas west and south-west of Darwin in Australia's Top End. Generally, mago are rich in harmonics, a characteristic that is emphasized in the local playing techniques.

Yidaki on the other hand belong to Moyle's 'Type B' classification of accompaniment in which the 'toot' or blown overtone is utilised in the musical compositions of the area, mainly North Eastern Arnhem Land and Groote Eylandt. Yidaki are typically longer with narrow necks, a characteristic which enables the use of fast tongue inflections and the staccato-like overtones used to great effect in the regional playing styles.

Generally speaking, mago are West Arnhem Land instruments and Yidaki are East Arnhem Land instruments although this is a very broad brushstroke generalization.

Kyle

I distinctly remember seeing videos of Darryl Dikkarna Brown tooting while playing a mago WAL-style.

And I have seen some videos of people (e.g., Laga) playing an Ambrose mago like it was a mandapul, complete with liberal use of toots.

I have a nice Ports Keats mago that toots so easily that you have to watch how hard you blow or you'll be tooting all the time.

Interesting.

Just to expand this further, Vocals as in "screeches/ screams" are not generally used in WAL either BUT listen to D***d Bl***s* playing free style and he really goes for it in the vocal department!!

Paul

Remember that the distinctions Moyle set out were based on the musical compositions of the area, not on instrument type or what the player could do outside of the structured ceremonial rules.

My friend Wallis Buchanan (formerly the didgeridoo player in Jamiroquai) returned from a lengthy stay in Arnhem Land and told me that "the kids out there would play a cardboard tube and make you want to buy it". Just goes to show that it ain't so much the instrument as it is the player!

Kyle

Hey you're in touch with Wallis ? What is he becoming ?
Still into didjeridu I reckon if he stayed in AL.

True : the instrument is not so much the didj' as it is the player !

Wallis hasn't been out there in years - he told me that back in 2000 or 2001. He's in London doing his thing. I don't know if he plays much these days, but I'll drop him a line and see if he gets back to me.