In didgeridoo playing, a player’s body bonds with the instrument. In this bonding, the border between the instrument and the player is only relative. What is achieved by playing is actually perfect reading of the inner body, since every change of the body cavity creates a change in the entire instrument cavity and therefore affects the sound.

But what happens if we separate our lips from the didgeridoo – how can we still use the instrument?

If we separate from the instrument, space is created, both literally and in sound. Still read through the instrument are diaphragm blows, tongue attacks, voice, lips, overblows… almost all the sounds recognized in common playing. But since there is no drone, spaces around these sounds are opened. And what appears in these spaces are “inside echoes” of the instrument. See what happens if you make a “pok” with your lips and separate yourself from the instrument a centimeter or two. Or what happens if you make a tongue tip toot and do the same. Listen to the sound of lip harmonics descending through the tube while you phrase your well articulated rhythm in front of it. Use close miking to get a better image.

Probably the most magical aspect of this phenomenon is that parallel playing is still possible. Separate lines can be created from diaphragm as drums, lips as guitar riff, breaths as hihats, and voice as voice…

To get an image of parallel playing articulation, listen and look at the recording of Korvo eksaltiko from a concert in Forlimpopoli in 2008. [ ]