This is the best demonstration of the basics evolving to a marvellous composition, I am so in love. It's mesmerizing how it is done, in control. When I play, I feel like the didge plays with me, so I wiggle and get sucked inside, breaking the balance. But I am in the right path. Thank you very much
I had to leave my playing due to Pot Holes and Bumps in the Road of Life. Things have calm down now to a point that I will be playing again! Would like to say Thank You for your time and effort in producing these videos. You have no Idea how profoundly grateful I am! The Native People of Australia also need to be recognized for creating such a wonderful and spiritual instrument. Peace!
To be more musical: Parallel playing is for me a kind of rhythm composing which has at least 3 different ostinatos going in time. In your case its drone, toot and voice, but it also can be done by eg. high voice, low voice and drone. The thing is, it must be absolutely time-tight to get that impression of many voices going on. You also can call it multi-layer rhythms if you want.
Inspiring demonstration, any protip how to reduce sucking noise while breathing on the toot? (That sucking sound produced while moving your jaw up). I just want to clean my toots ;))
It's such a pity that nowadays I don't hear an orchestra there, just different aspects of the single player. When I concentrate. Then again, I also think that doing this in a trance-style with long repitition cycles helps somewhat "bore" the listener so that they stop paying attention for a moment and when they snap back into it suddenly there's more than one voice. So if you take your fast cycle for instance and repeat this, like eight times, and then introduce a little change, eight more times, and back to first, eight times, etc.; this will be more mesmerizing than constant articulation changes, rhythm changes, voice changes etc. Of course not as (musically? of course! aesthetically? Lies in the ear of the beholder..) complex, advanced and "fun" to expert level players, but IMO so strongly drawing in! But to be honest, if I had the ability to play effortlessly (relatively) in a mesmerizing way (I think I do) and to play in a jaw-dropping-Du-way, would I ever choose the "boring" path? Hmmm ...
This is the best demonstration of the basics evolving to a marvellous composition, I am so in love. It's mesmerizing how it is done, in control. When I play, I feel like the didge plays with me, so I wiggle and get sucked inside, breaking the balance. But I am in the right path.
Thank you very much
Parallel magical virtuoso player.
You amazing Atitude in the Didgeridoo Universe is a big inspiration for us.
I had to leave my playing due to Pot Holes and Bumps in the Road of Life. Things have calm down now to a point that I will be playing again! Would like to say Thank You for your time and effort in producing these videos. You have no Idea how profoundly grateful I am! The Native People of Australia also need to be recognized for creating such a wonderful and spiritual instrument. Peace!
Thanks for mentioning me my dear friend. You are an inspiration!
❤️☀️🎶
Very helpful. I will be practicing this
insanely amazing!
That is fantastic playing....Wonderful. Thank you so much.
Brilliant tutorial! I started playing in 1994 and love your style!
Dubravkoooo,thank you for existing and transfering to us this magnificence
To be more musical: Parallel playing is for me a kind of rhythm composing which has at least 3 different ostinatos going in time. In your case its drone, toot and voice, but it also can be done by eg. high voice, low voice and drone. The thing is, it must be absolutely time-tight to get that impression of many voices going on. You also can call it multi-layer rhythms if you want.
Fun!
Inspiring demonstration, any protip how to reduce sucking noise while breathing on the toot? (That sucking sound produced while moving your jaw up). I just want to clean my toots ;))
mind blown ese!
It's such a pity that nowadays I don't hear an orchestra there, just different aspects of the single player. When I concentrate.
Then again, I also think that doing this in a trance-style with long repitition cycles helps somewhat "bore" the listener so that they stop paying attention for a moment and when they snap back into it suddenly there's more than one voice.
So if you take your fast cycle for instance and repeat this, like eight times, and then introduce a little change, eight more times, and back to first, eight times, etc.; this will be more mesmerizing than constant articulation changes, rhythm changes, voice changes etc. Of course not as (musically? of course! aesthetically? Lies in the ear of the beholder..) complex, advanced and "fun" to expert level players, but IMO so strongly drawing in!
But to be honest, if I had the ability to play effortlessly (relatively) in a mesmerizing way (I think I do) and to play in a jaw-dropping-Du-way, would I ever choose the "boring" path? Hmmm ...
chingon ese! very fucken chingon!