The Bodhran is an instrument with a fascinating history, making an unexpected transition from ritual instrument to integral component of Irish music in the 1960s thanks to renowned musician Sean O Riada.

Bodhran playing can add much-needed melody and harmony to dance tunes such as reels and jigs, making an important melodic component of an ensemble’s soundscape. Airs (slow song-like pieces) do not lend themselves well to being performed on the bodhran; however, dance tunes (jigs and reels) offer plenty of opportunities for its use. Their internal rhythms allow the instrument to become an important melodic component.

Origins

The origins of bodhran remain shrouded in mystery. Some speculate it originated as a variation on tambourines popular in southern continental Europe and spread through trade routes to Ireland; others believe it emerged from an indigenous working tool into a musical instrument.

One theory suggests that drums were used as working instruments before their music-making capabilities were accidentally discovered by accident. Others have proposed they were variants of sieves used for winnowing grain seed.

There is evidence of Celtic countries using similar frame drums for weaving wool and dying yarn, using their bent willow rim covered by stretched skin as the bodhran’s hollow section served to separate seed from chaff or shells more easily. Today it’s not unusual to see its rim covered with electrical tape as this helps reduce edge loading while dampening unwanted overtones.

Construction

A bodhran is composed of a circular skin stretched over a wooden frame and secured either by glue, nails or staples; glueing usually gives the best result. To achieve optimal results, the skin should have some give as it shrinks when dried; however, too much slack means its tone won’t be strong.

Modern bodhrans can be designed to be internally adjustable, which provides players with an easy way to personalize the pitch of the drum to suit their personal taste. However, this feature should not be seen as essential.

Bodhrans resemble large tambourines without the jingles and are struck using either your hand or a short drumstick known as a beater or cipin. Bodhrans gained wide recognition as legitimate musical instruments during Ireland’s traditional music resurgence of the 1960s; today they’re predominantly found throughout Ireland – their name comes from Irish word ‘bodhar’ meaning deaf or dull!

Techniques

Today, bodhrans have become much more widely accepted. Newcomers find it easier than ever to start playing thanks to better drums that sound great right from the beginning, workshops, online videos and teaching materials. Furthermore, these drums can be played using various techniques – even using brushes for soft tones on different parts.

The bodhran can be played using either the hand or stick (cipin), with or without attached jingles attached to its frame. Over recent decades, its playing technique has evolved significantly; great virtuoso players like Peadar Mercier of Planxty, Christy Moore from The Chieftains, Flook’s Robin Morton or Johnny “Ringo” McDonagh from De Dannan have all revolutionised its use and its playing style.

These players have discovered ways to achieve high tonal differences on the bodhran, making it a central component of Irish traditional music. Furthermore, they have added techniques derived from other percussion instruments, such as snare drumming.

Sound

A bodhran produces different tones depending on where a musician touches it and the pressure applied by their hands; an experienced player can use this instrument to express sobs, laughter or martial calls to action. Modern bodhrans may even be tuned with tuning knobs, providing even greater precision while amplifying its sound characteristics.

Initially, the bodhran was played using either hand or stick called a cipin to strike its strings; over time the playing technique has evolved over time and become increasingly sophisticated. Recently, notable players like Peadar Mercier of the Chieftains, Christy Moore from Planxty and De Danann’s Johnny “Ringo” McDonagh from De Danann have further advanced techniques.

This Acoustic Bodhran Sample Library was expertly recorded at Herbert Place Studios in Dublin, Ireland with three mic positions using five dynamics and seven round robins for maximum expression and realism. Additionally it offers left/right hits/rolls/pitching methods for maximum expression/realism.

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