The Bodhran is at the core of Irish music and has seen remarkable transformation over the last 70 years.

Contrary to most drums, the bodhran can be played using only your hand instead of a stick (cipin). This gives the player greater flexibility over sound and style by targeting specific regions of skin for striking. Hitting these precise areas produces different tones and rhythms for added interest and variety in playing style.

Origins

An expert bodhran player can transform it into an expressive instrument; otherwise, it may sound more like an assembly of musicians trying to be noticed as music-makers.

The Bodhran first gained widespread recognition as a musical instrument during the 1960s when Sean O Riada reintroduced it. O Riada used it in ritual on St Stephen’s Day (La an Dreoilin) to commemorate the hunt for wren. Following its introduction again by Peadar Mercier of Ceoltoiri Chualann, Tommy Hayes from Planxty and Johnny “Ringo” McDonagh further developed its playing techniques.

Construction

The Bodhran is a frame drum composed of goat, calf or synthetic skin stretched over a wooden frame. Played either with one’s hand or using a tipper/cipin stick called a tipper/cipin to alter its sound; its open side dampened by dampening skin using dampers on one hand allows it to create both urgent tapping and melodious ringing beats from experienced players.

Electrical tape covers have become an increasingly common sight on drum rims, reducing edge loading and enabling owners and drum makers to customize its tone and qualities to their specific tastes. This practice forms part of an evolving organology for bodhran that blends traditional anthropology with ethnomusicology.

Sound

The Bodhran is renowned for its distinctive sound, drawing musicians all around the world to incorporate its use into genres far removed from its Irish origins. Today it can often be found featured in Celtic rock and world music genres demonstrating its adaptability in today’s ever-evolving musical landscapes.

Over time, bodhran playing techniques have developed. Seamus O’Kane pioneered an effective solution by covering the rim with tape – this technique reduces edge loading while dampening overtones.

Peadar Mercier from The Chieftains and Johnny “Ringo” McDonagh of De Dannan are two other innovative bodhran players; John Joe Kelly brought rhythms from various genres into bodhran playing during the 1990s with his melodic style.

Techniques

Adopting an effective practice strategy is essential to mastering the bodhran. At first, developing your technique may seem intimidating but once you get comfortable it will quickly become second nature.

Bodhran players often sit while performing, with the drum standing upright on one thigh and right-handed players using a stick called a cipin to beat it with.

Kerry Style of Bodhran playing is by far the most popular technique used. This technique involves rotating both tips on either end in order to hit every “number” on the bodhran with equal force.

Styles

This book draws on extensive interviews with bodhran makers, professional and amateur musicians, and enthusiasts to examine its history and gradual development as an instrument of Irish traditional music. Additionally, the bodhran has become a symbol of Irish identity and pride, playing an essential role within Irish traditional music traditions.

The Bodhran has long been an essential element of Celtic music, yet only recently has its musical capabilities been truly put on display. Bodhran players are exploring various methods for playing it including hand styles and sticks; Jesse Winch from popular Celtic band Celtic Thunder even uses one in this way!

Music

The versatility of the bodhran has allowed it to evolve beyond its utilitarian origins into an instrumental musical form. Its distinctive sound has drawn musicians from multiple genres away from its Irish origins and now forms an essential component of global fusion projects.

Bodhrans can be played using either one’s own hands or with the aid of a stick called a cipin. When used both ends over the drum is known as Kerry style playing while only using one end will give rise to top-end style playing.

As you play a bodhran, it is essential that you pay close attention to the music being performed and try to adapt your playing to fit into its melodies, rhythms and emotions – this will improve your musicality while adding depth and texture to your playing.

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