The Irish Drum Bodhran
After Sean O Riada and Peadar Mercier introduced it to Irish music sessions during the 1960s, its use has become ubiquitous at Irish sessions. Since then its popularity has only continued to increase.
Bodhran playing is always evolving, with new ideas emerging from players and tippermakers alike. This article will highlight some of these developments.
Origin
The Bodhran is an Irish frame drum whose history remains obscure. First brought into public view by Irish composer Sean O Riada when he included it in Ceoltoiri Chualann ensemble, it has since grown increasingly popular as an agricultural tool turned musical instrument.
A drum should be played while sitting down and held vertically on one’s thigh, usually the left for right-handed players. One hand (usually the left, in cases of right-handed players) inserts itself into its skin; touching different spots allows one to alter pitch and sound characteristics of the instrument.
Bodhrans are traditionally constructed of wood and feature a beater which can be held either end; Kerry style (using both ends directly over the head) is most prevalent. Vivid players such as Johnny “Ringo” McDonagh, Christy Moore and Peadar Mercier have helped further develop this instrument through their innovative playing styles.
Construction
Bodhrans are built upon circular wooden frames and covered with animal skin (usually goatskin but sometimes also calfskin or even plastic). Modern professional bodhrans often include internal tuning systems to control the pitch of their heads.
Bodhrans likely came to Ireland from continental Europe, likely through an importer such as Daniel Maclise in his 1833 oil painting depicting a house party at Halloween featuring prominent Bodhrans – something the drum shares much in common with tambourines. One of its early illustrations can be found in this painting from 1833 by Daniel Maclise himself! It can clearly be seen.
To create a bodhran, start by sanding down the entire drum until its surface is smooth, cutting two dowels to fit inside its frame and tacking it together. Next step should be soaking a piece of goatskin until soft so it can loosely stretch over the rim without producing an unacceptably high-pitched sound; either nailing or gluing will do, depending on desired results.
Sound
Over the past 70 years, no instrument in Irish music has seen as much development and change as the bodhran has. Opened up to wider audiences by Sean O’Riada and spread further by bands like the Chieftains, innovative ideas on everything from tuning systems and frame depths and dimensions have resulted in an astonishing variety of bodhran models today.
Sound has also been improved on this bodhran: jingles have been eliminated, dampening techniques were refined, and playing techniques refined – all leading to the current state of play on it.
It makes a beautiful addition to any Irish home and serves as the centerpoint of traditional music, making playing it accessible to anyone with some practice and friends to accompany it – making an excellent present idea!
Playing
Sean O Riada popularised the bodhran drum during the 1960s in concert halls through Ceoltoiri Chualann and later with The Chieftains. The versatile instrument can be used both melodically and rhythmically for playing rhythms or melodies.
Though there are various playing styles and techniques for the bodhran, it is essential to keep in mind that it serves primarily as a melody instrument rather than being used as a beat drum. A successful bodhran player should simply match and embellish rhythmic patterns without leading them.
Recently, some pioneering bodhran makers and tippermakers have elevated the bodhran to new levels. Seamus O’Kane pioneered an internal tone ring driven against the head to tension/loosen it (similar to banjo design) which revolutionized both making and playing of bodhrans worldwide; John Joe Kelly introduced melodic playing style into traditional Irish bodhran tradition through Flook in the 90s.
