An Bodhran - The Irish Drum

Introduction.

Contrary to some beliefs the Bodhrán is the heartbeat of popular Irish music but in the hands of the wrong person it could become the heart attack!! It is because of this that in some circles the Bodhrán and its player are considered to be second class citizens. One famous piper was once asked how he would like to hear the Bodhrán played, his reply was ‘with a pen knife’!!

The unfortunate thing is that the Bodhrán is a relatively easy instrument to play and it is a shame that unthinking people turn up to a session with only a little knowledge and musicality and just ‘bash’ away. If you are serious about the instrument and want to play well, listen to the music, research the history, talk to good players and most importantly of all, PRACTICE.

The Frame Drum Family

This ancient frame drum is traditionally made with a wooden shell and a goat skin head. Frame drums are to be found all over the world with references to them even in the bible, i.e the Tambour. A frame drum is a drum where the diameter is greater than the depth of the shell.

There are a couple of theories as to the origins of the Bodhrán, either that it made its way to Ireland via the Middle East or that it evolved from the common sieve that was used by farm workers generations ago. Historians are still undecided as to which of these definitions is true and probably the argument will go on forever but who cares! The instrument is here to stay and it’s wonderful. The one thing that sets the Bodhrán apart from all other frame drums is that it is the only drum that is authentically played with a stick though this is not always the rule as we shall see. The stick is a double headed stick called a Cipin, Tipper or Beater. The Irish translation of the word Bodhrán believe it or not means deaf person!!

Stick Styles

The most common style of play is the Kerry style, with a two-headed tipper played obliquely to the drum head, the main beats being produced by the bottom end of the tipper and the upper end used for rolls and ornamentation. There are other styles which produce slightly different tones and rhythms. Tommy Hayes for example has developed a style that is very unique to him and in his own words ‘that it is a style that is a devil to learn if you are proficient at another style’. He believes that his approach allows him to play much faster, very precisely, and thus to play much more complex rhythms but because the stick ‘snaps’ into the skin, there is less bounce and he gets a sharper, less resonant tone.

Using the left hand for pitch and control

In most styles your left hand is held against the skin of the drum, free to be used as you see fit. Most commonly, players press their hand against the skin in various ways to modify the pitch and tone of the drum. The great Bodhrán player Johnny ‘Ringo’ McDonagh was the main influence in using the left hand on the back of the drum and as with all great ideas the method has progressed greatly over the years with fantastic players from Ireland like Colm Murphy, Steafan Hannigan, and Tommy Hayes or from Scotland, Jim Sutherland. Some of the players who are now taking things just a stage further are Mel Mercier (Head of Percussion, University of Cork), Frank Torpey who plays with a band called Nomos, John Joe Kelly with Flook and a monster player by the name of Junior Davey.

A flat palm held against the skin will dampen the sound, producing a flatter, duller tone. The edge of the hand pressed into the skin will make it ring; by varying the pressure and position of your hand you can change pitch by an octave or more. A good exercise is to play regular sets of four beats and alternate between a flat palm against the upper edge of the skin, the inner edge of your hand pressed at the top edge of the skin, the outer edge of your hand pressed against the middle of the skin and an open skin allowing the drum to ring freely. These four tones are the basic tools that you have available.

Next >