This used yirdaki has a more open sound than most that you will see here on YouTube. Yolngu - especially ceremonial and accomplished players - love this kind of sound as it allows a greater range of techniques to be executed. Whereas more constricted yirdaki respond easily to increased air pressure, through tongued accents for example, yirdaki such as this require a little bit more from the player. This is where the learning of technique comes in... the creation of rhythmic patternings we have all come to love so much in traditional Yolngu styles of play isn't achieved merely from increasing the air pressure within the oral cavity, or flicking the tongue forward. There is more to it than that, which is evident on some types of instruments, and less so on others.The notable feature of yirdaki such as this is that the pitch of the instrument goes down during tongued accents. At least that's what I think is happening. This seems to be a more common feature in older instruments... listen to old field recordings from the 1960s-70s (Moyle, Waterman, et. al.) period and you'll see what I mean.In the meantime, watch Winiwini crank it up here!This yirdaki is also for sale. Check it out here:http://www.ididj.com.au/store/fine_di...

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