As well as intooting, I am working these days to improve my regular tooting. I have found there is a range of toots LOWER in pitch than the first overtone and that require less breath and a looser lip action (halfway between droning and trumpeting) to play. In fact, if you blow too hard, you just end up with the first overtone. These are ideal to use for working on circular breathing during long toots.
Since the lip action is halfway between droning and tooting, I call this technique drooting.
I like these droots on my pseudoconical in D because they allow me to toot the note an octave above the basic drone. My first overtone is an F. These lower range droots actually span the octave note: the strongest ones are at the octave note as well a note above and a note below. Vocalizations also come across better with these lower range droots. You seem to be able to droot a note an octave above the basic drone on any sort of didge. I tried it on all mine, though it may be difficult to side blow these droots. I front blow them.
Here is a sample sound file that starts with a drone, then a trumpet toot at the first overtone, then come the droots, an octave above the drone and a note above and below this. This sample concludes with alternating drones and droots at the note an octave above the basic drone:
Here's another drooting sound file example. This one droots the tune Mary Had a Little Lamb which is essentially the same tune as Merrily We Roll Along:
This was drooted on my ABS pseudoconical didge in D and recorded using Quartz Studio Free.
Another fun tune to droot is the Ode to Joy theme from Beethoven's Ninth Symphony. Vocalizations go very well with this one.
Here is a spectrum analysis of the droot and the drone. The top spectrum shows the basic D drone coming in as the large mountain on the left. Below that is the droot which comes in strongly at the D an octave above the drone:
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