Bodhrán

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The bodhrán (IPA [ˈbɔːrɑːn] or [ˈbaʊrɑːn]; plural bodhráns or bodhráin) is an Irish frame drum ranging from 10" to 26" in diameter, with most drums measuring 14" to 18". The sides of the drum are 3½" to 8" deep. A goatskin head is tacked to one side (although nowadays, synthetic heads, or new materials like kangaroo skin, are sometimes used). The other side is open ended for one hand to be placed against the inside of the drum head to control the pitch and timbre. One or two crossbars may be inside the frame but this is increasingly rare on professional instruments. Some professional modern bodhráin integrate mechanical tuning systems similar to those used on drums found in drum kits.

Contents 1 History 1.1 Name 1.2 Possible Antecedents 1.3 Popularity 1.4 International Use 2 Playing 2.1 New techniques 3 Players 4 External links 5 Sources

[edit] History

The exact origins of the bodhrán are unclear and are subject to discussion.

[edit] Name

Third-generation bodhrán maker Nicholas Driver asserts that the name bodhrán means "skin tray". Others suggest a link with the Irish word bodhor, meaning soft, or dull sounding.^[1] Still others claim that its name is derived from the similar Irish word bodhar, meaning deaf. A relatively new introduction to Irish music, the bodhrán's has largely replaced the role of tambourines, suggesting another possible origin for bodhrán's name from the abbreviation "'bourine".

[edit] Possible Antecedents

The bodhrán is similar to the frame drums distributed widely across northern Africa from the Middle East, and has cognates in instruments used for Arabic music and the musical traditions of the Mediterranean region (see Music of North Africa, Music of Greece etc.). Traditional skin drums made by some Native Americans are very close in design to the bodhrán as well.^[1]

There is a close similarity between the bodhrán and Spanish military drums of previous centuries, suggesting the instrument may have been introduced by Irish who had served in the Spanish military (a more common situation than one might think) or acquired knowledge of the instrument from Spanish comrades aboard sailing ships.^[2]

It has also been suggested that the origin of the instrument may be the skin trays used in Ireland for carrying peat; the earliest bodhrán may have simply been a skin stretched across a wood frame without any means of attachment.^[1]

Peter Kennedy observed a similar instrument in Dorset and Wiltshire in the 1950s, where it was known as the "riddle drum", suggesting this instrument may have crossed over from Ireland to England, or vice versa.

[edit] Popularity

There are no known references to this particular name for a drum prior to the 17th century. The drum itself didn't gain wide recognition until the Irish traditional music resurgence in the 1950s in which it became known through the work of The Clancy Brothers and others.

The second wave roots revival of Irish Traditional music in the 1960s brought virtuoso bodhrán playing to the forefront, when it was further popularized by bands such as Ceoltóirí Chualann and The Chieftains.

Growing interest led to internationally available LP recordings, at which time the bodhrán became a globally recognized instrument. In the 1970s, virtuoso players such as The Boys of the Lough's Robin Morton, The Chieftains' Peadar Mercier, Planxty's Christy Moore, and De Dannan's Johnny "Ringo" McDonagh gained notoriety for their performance techniques.

[edit] International Use

Although most common in Ireland, the bodhrán has gained popularity throughout the Celtic music world, especially in Scotland, Cape Breton, and Newfoundland. In Cornwall, traditional music sometimes uses a version of the bodhrán called a crowdy crawn.

[edit] Playing

The drum is usually played in a seated position, held vertically on the player's thigh and supported by his or her upper body and arm (usually on the left side, for a right-handed player), with the hand placed on the inside of the skin where it is able to control the tension (and therefore the pitch and timbre) by applying varying amounts of pressure and also the amount of surface area being played, with the back of the hand against the crossbar, if present. The drum is struck with the other arm (usually the right) and is played either with the bare hand or with a lathe-turned piece of wood called a "bone", "tipper", "beater", or "cipín". Tippers were originally fashioned from a double-ended knuckle bone, but are now commonly made from ash, holly or hickory.^[1] Brush-ended beaters, and a "rim shot" (striking the rim) technique for contrast, were introduced by Johnny McDonagh.^[3] There are numerous playing styles, mostly named after the region of Ireland in which they originated. The most common is Kerry style, which uses a two-headed tipper; the West Limerick style uses only one end of the tipper.

Another style which has gained in popularity is the so-called "top-end" style, often played on a smaller (14-15 inch) and deeper (4-6 inch) drum with a thinner resonant skin, prepared like the skin of a Lambeg drum. The tipper in this style is usually straight and most of the expressive action is focused on the top end of the drum. Crossbars are most often absent, allowing a more unrestricted access for the left hand to modify the tone. This enables a more melodic approach to this rhythm instrument, with a wide range of tones being employed. An influential proponent of this style is John-Joe Kelly playing with Flook. This band is renowned for their tight arrangements and expressive playing, where a top-end bodhrán style adds significantly to the overall texture and dynamics. This approach to playing, however, doesn't always fit in with the informal setting of many Irish music sessions unless the player has a good ear for improvisation and listens to what the tune needs. A good player of any style accompanies and enhances the tune, rather than uses the tune as an opportunity to show off or go through their repertoire of techniques.

When playing the bodhrán as an accompaniment to Irish music, different beats may be used. For example, reels, which have a 4/4 time, the bodhran player annunciates to first beat of four, making a sound like ONE two three four ONE two three four. Because the bodhrán typically plays 16^th notes (Kerry style), a great deal of variety can be introduced by syncopation and use of rests. Combined with manual pitch changes and naturally occurring tonal variations in an animal skin drumhead, the bodhrán can almost sound as melodically expressive as other non-percussive instruments.

[edit] New techniques

As world music in general has become more popular, techniques once associated with other ethnic drumming traditions have become widespread in bodhrán playing.

Lorcan Mac Muiris incorporates jazz and Ghanaian styles into his technique, often playing the drum held between his knees and mutating the sound by pressing on the outer surface of the head, and uses Indian konokkol recitation to provide counter-rhythms.

Glen Velez uses Arab, South Indian, South Italian and Central Asian finger techniques, inspiring players like N. Scott Robinson, Yousif Sheronick, Glen Fittin, and John Loose.

John Bergamo has also explored cross-techniques for bodhrán with the drum seated between his legs and using fingers in methods close to Indian drumming techniques, unlike Mac Muiris who uses a thin stick in an imitation of African Ewe drumming.

[edit] Players

Some notable bodhrán players include:

• Fergus O'Byrne (of Ryan's Fancy)
• Cormac Byrne (of Uiscedwr and the Seth Lakeman Trio)
• John-Joe Kelly (of Flook)
• Gino Lupari (of Four Men and a Dog)
• Kevin Conneff (of The Chieftains)
• Christy Moore
• Nathan MacDonald
• Séan McCann (of Great Big Sea)
• Lucy MacNeil
• Liam Ó Maonlaí
• Johnny "Ringo" McDonagh (of De Dannan)
• Tommy Hayes (of Stockton's Wing)
• Joseph Mulvanerty (of Black 47)
• Mark Dunlop (of Malinky)
• Chris Weddle
• Caroline Corr (of The Corrs)

• Jim Dawson (of Craic House, formerly of Darby O'Gill)
• Cathie Ryan (formerly of Cherish the Ladies)
• Steve Wehmeyer (of Gaelic Storm)
• Tristan Rosenstock (of Téada)
• Johnny Norton (of Tuskar Rock)
• Harry O'Donoghue
• Chris Schell (of Kindred Spirit)
• George Schwindt (of Flogging Molly)
• Warren Patrick Casey
• Rónán Ó Snodaigh (of Kíla)
• Ruth Moody (of The Wailin' Jennys)
• Matt "Tappy" Cadwallader (of Poxy Boggards)
• Kevin Crawford (of Lunasa)
• Junior Davey

[edit] External links

• Mittleman, Josh. The Bodhrán. Ceolas Music Pages. Retrieved on January 6, 2006.
• http://www.bodojo.com - Web resource and discussion forums by and for bodhràn players
• Jeff, Meade. The Bodhran Diaries. The Irish Philadelphia. Retrieved on January 5, 2007.

[edit] Sources

1. ^ ^{a b c d} Driver, Nicholas (1978). Nicholas Driver's Bodhran & Bones Tutor. Suffolk, UK: (self-published). 
2. ^ Holly J. Morris
3. ^ Bodhán Players. Ceolas celtic music archive. Retrieved on January 6, 2006.

• Nicholas Driver "The Bodhran", English Dance and Song 40/1 1978 p15
• History of the Bodhran
• Bond, Lahri. The Celtic Heartbeat of Arcady. Dirty Linen. Retrieved on January 6, 2006. (interview with Johnny McDonagh)
• Styles of Playing for the Bodhrán. Ceolas celtic music archive. Retrieved on January 6, 2006.
• Various Artists, Robbie Harris, producer (2000). Pure Bodhrán – The Definitive Collection, [2-CD set]. Big Beat Music.