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Home , Banjo, Bendir, Riq, Tar (drum), The Chieftains

The Irish Bodhrán in Context Celebrating the Evolutions of a Modern Tradition

By Kyle Forsthoff and Andrew Kruspe

rom private kitchens and the back rooms can’t touch on every historical and performance KYLE FORSTHOFF, ANDREW KRUSPE, of pubs in the rural regions of the far aspect of the , by the end of our program west of to the stages of Carnegie you will understand the drum’s history JOHN SKELTON, GARRETT SMITH, MIKE CLEM FHall and Broadway, the bodhrán has and see how its construction, method of World Clinic/Performance become an icon of Irish culture and has been , and application have changed Saturday 3:00 p.m. steadily growing in popularity the world over from approximately 1960 to the present. We due to its versatile capabilities. While the will be focusing on the use of the bodhrán in instrument is quite old, playing the bodhrán commercial recordings by musical groups, as or tipper, but the hand itself can also be used. has only been recognized as an art form for just that is where the instrument has flourished and The basic technique for striking the drum over fifty years. It is a where the vast majority of accessible resources involves a down-and-up motion that allows for that is certainly well known in our community lie. the application of several additional techniques of percussion enthusiasts, but we feel that it To illustrate the changing use of the drum to provide ornamentation (more detail on basic is an instrument that is still not well known in its traditional role as an accompaniment playing technique can be found in O’Mahoney, about. instrument for , we will 1999). In our PASIC 2013 clinic we will aim to perform with the assistance of Mike Clem The drum is most commonly used to educate the audience about the ever-changing on and , John Skelton on , accompany melodic tunes used for social abilities of this instrument to function in its and Garrett Smith on . Each of these dancing. Like many folk instruments, the original context as a part of the Irish music players is a well-respected member of the Irish origins of the drum consist of a series of non- tradition. Over the years, the small number traditional music community, and we are very linear records and independent developments. of bodhrán-related articles in Percussive Notes grateful for their assistance in making our There is not space here to cover all of the and the few previous PASIC presentations presentation possible. details, but what we do know is this: The dedicated to the bodhrán have not presented The bodhrán is a member of the bodhrán was used to accompany and the history, development, and context of family, most often played in a seated position tin whistles during the “Wren Boys” festivities the instrument within its own tradition as with the drum resting on the thigh. The drum on December 26, the feast day of St. Stephen, comprehensively as we intend to. While we is struck with a single short stick called a cipín where young men and boys would use these instruments in processions around their villages. It is unclear how long this tradition has taken place. Bodhráns and bodhrán-like frame were known to have been made and used in the performance of Irish traditional music both in Ireland and in the United States. Liam Ó Bharáin’s multi-part article in the journal Treoir states that drums were made and played in Ireland as early as 1917. In addition, bodhrán-like drums or large were used to Andrew Kruspe Kyle Forsthoff accompany the flute

PERCUSSIVE NOTES 20 SEPTEMBER 2013 in U.S.-produced recordings of Irish traditional radio promoter and avant-garde composer players generally played straight time with little music in the 1920s. Seán Ó Riada created the group Ceoltóirí rhythmic variation, minimal tonal variety, and There are two main theories regarding the Chualann as part of a multi-fronted effort by little consideration given to the specific melody. origins of this frame drum: migration and the government of the Republic of Ireland to Beginning in the mid-1970s and proceeding local development. The migration theory revitalize interest in aspects of Irish culture through the mid-1980s, we begin to see a posits that the bodhrán as we know it made its across the nation, including the speaking of the shift in the sensibilities of the players and the way to Ireland from the Mediterranean basin Irish language and the playing of traditional capabilities of the instrument. Players such as over centuries of cultural exchange. Evidence music. In lieu of standard orchestral percussion Johnny “Ringo” McDonagh, Colm Murphy to support this comes from the similarities instruments, Ó Riada promoted the bodhrán (both with the group ), and Tommy in construction of frame drums from North by playing one in the group, later handing Hayes (Stockton’s Wing) featured techniques Africa and the Middle East (, , , playing duties off to Peadar Mercier. In 1963, where the hand holding the drum is used to etc.) and Southern Europe (tamburello and several members of Ceoltóirí Chualann formed apply pressure to the skin in different ways, tamorra). The local development theory the Chieftains as a side project, with early thus achieving tonal variation. They also proposes that the bodhrán developed albums featuring bodhrán playing by Dave created that deviated from the independently in Ireland as a frame drum or Fallon and Peadar Mercier. straight-time approach used earlier, breaking as a drum improvised from agrarian tools. joined the group in 1976 following Mercier’s up the rhythms and using syncopations. The The first part of this theory points to several retirement and continues to play in the group recent addition into the tradition of chordal paintings and old manuscripts that show to this day. and rhythmic accompaniment instruments or tell of a bodhrán-like drum used in the During this first era of modern bodhrán such as the guitar and also began performance of . The second part performance the drums tended to be large, to have an effect on playing styles. At this of this theory suggests that this drum was almost always had crossbars or wire both for time makers began building drums without improvised for use as a structural support and for holding, and were crossbars, both out of lack of necessity and to with skin-bottomed trays that were previously devoid of any sort of tuning systems. The skins allow the players more freedom of movement used for winnowing grain and/or washing and on these early drums were thick goatskins that with their tonal hand. storing produce. had typically undergone only rudimentary Skins generally remained of similar quality, After 1960 the history of the bodhrán skin processing techniques. One craftsman although we do see the introduction of becomes clearer. We will use this date as a sort who gained a reputation as a bodhrán maker Lambeg skins around this time. Lambeg skins of fulcrum-point, dividing the period from at this time was Charlie Byrne, whose drums are very thin goatskins specially treated for use 1960 to the present into four main eras of are still highly prized to this day for their deep, on the large Lambeg drums primarily used development and performance. In that year, haunting sound. During this era bodhrán in Northern Ireland. Seamus O’Kane began

PERCUSSIVE NOTES 21 SEPTEMBER 2013 making drums with used Lambeg skins in of the Irish music tradition. It is important to Ireland’s ‘Native Drum’.” Percussive Notes, vol. 49, 1978 and is also credited with inventing the note that many of the players and makers we no. 3 (May 2011), 38–41. internal tuning system that is a common design will discuss fit into more than one era and/or O’Mahoney, Terry. “The Irish Bodhrán.” Percussive element on nearly all modern bodhráns. are fully capable of playing in more than one Notes, vol. 37, no. 2 (April 1999), 34-40. From the mid-1980s through the mid- particular style. Schiller, Rina. The Lambeg and the Bodhrán. Belfast: 1990s bodhrán playing and making continued We will be performing often during our Queen’s University Press, 2001. to improve in large strides. Makers including presentation in order to demonstrate particular Vallely, Fintan. “Hunting for borr-án.” Presentation Darius Bartlett and Brendan White developed concepts and ideas so that you can get a given at the Craiceann Bodhrán Summer School– more advanced skin processing techniques sense of how the music sounds and how that Inis Oirr, County Galway, Ireland, June 2012. to achieve a wider tonal range, drum sizes sound has changed over time. To enhance generally began to decrease with 12- to 16- our presentation, we have created two pdf Kyle Forsthoff has given clinics and taught inch diameter drums becoming popular, tape documents that you are free to download bodhrán workshops throughout the Midwest was used on the outer edge of the skin to mute from the following URL: http://www. while performing with Liam’s Fancy, John high overtones, and tooled internal tuning betterthanitsounds.com/pasic.html. Skelton, and others. He lives in Rhode Island. systems became prolific. While players such as For those who may not have much Mel Mercier, Donnchadh Gough (Danú) and familiarity with Irish Traditional Music, Andrew Kruspe performs and records on the Frank Torpey (Nomos) were expanding the the first document will give you a basic bodhrán with several ensembles and performers traditional roles and possibilities of bodhrán overview of Irish Traditional Music as a throughout the southeastern United States. playing, players such as Paul Phillips and Junior whole, including how the melodic aspects of He is also a percussion instructor at the Davey simultaneously developed an entirely the music are grouped and governed. Being Randolph School and Sparkman High School new style of playing. This style, commonly familiar with some of these organizational in Huntsville, Alabama. PN referred to as Top-End, used only one end of basics will increase your understanding of our the stick (as opposed to the more popular style presentation as we put bodhrán playing into using both ends of the beater) and took full the context of the music. This is pertinent as advantage of the increased tonal capabilities of the structure of the music obviously affects how SYMPHONIC SESSIONS drums available at the time. Particular to this the bodhrán player creates accompaniment. style of playing is the prominent use of long, The second document is a very thorough list MIKE WARNER thin tippers and the highest pitches available of bodhrán resources. This handout includes on the drum for rhythmic clarity, well-suited to information on many notable players and Symphonic Clinic the faster playing styles that flourished in urban makers, a list of recommended recordings, Thursday 11:00 a.m. areas. instructional materials, and numerous Our final historical era will cover the other sources of information. Our contact ANTHONY CIRONE advances that have been made from the mid- information is included on both documents, Symphonic Lab 1990s to the present day. There are now more and we encourage you to contact us at any time people playing the bodhrán than ever before, with questions or comments. The handout we Thursday 4:00 p.m. with just as many approaches to playing. will provide at PASIC will include an outline Makers such as Albert Alfonso, Rob Forkner, of our presentation and a shorter version of SYMPHONIC EMERITUS and Christian Hedwitschak are producing our resource list featuring our favorite players Symphonic Showcase Concert drums that are functional works of art with and makers, preferred instructional resources, Friday 10:00 a.m. tool-less tuning systems, advanced shell a list of essential albums, and bibliographic materials and shapes, and skins from multiple information for the articles pertaining to the species. In addition, these makers are also bodhrán that have appeared in previous issues JAUVON GILLIAM experimenting with skin appliqués inspired by of Percussive Notes. Symphonic Timpani Lab the construction of the heads on Indian tabla It is a very exciting time to be a bodhrán Friday 1:00 p.m. drums. Smaller drums with more flexible heads player and we hope you will join us as we have now become the standard rather than celebrate the growth of this vibrant percussive the exception. As a result of these advances art! JOHN SHAW in drum technology, players are able to coax Symphonic Snare Lab BIBLIOGRAPHY ever-wider ranges of pitches and timbres from Friday 5:00 p.m. their drums while using alternative implements Ó Bharáin, Liam. “Bodhrán—Its Origin, Meaning, such as hot-rod-type sticks and developing and History.” Treoir vol. 39, no. 4 (November JOE PETRASEK techniques to utilize the drum as a substitute 2007), 50–56. for the drumset. John Joe Kelly (Flook), Eamon Ó Bharáin, Liam. “Bodhrán—Its Recent History: Symphonic Accessories Clinic Murray (Beoga) and Colm Phelan (Goitse) Making and Playing the Bodhrán.” Treoir vol. 40, Saturday 9:00 a.m. are three of the many players expanding the no. 1 (Spring 2008), 47–52. drum’s ever-widening capabilities while Martin Ó Bharáin, Liam. “Bodhrán—Its Recent History: JEREMY BRANSON & CHRISTOPHER ALLEN O’Neill, Cormac Byrne (Uiscedwr), Ronan Making and Playing the Bodhrán.” Treoir vol. 40, Symphonic Clinic/Performance O’Snodaigh (Kilá), and others are taking the no. 2 (Summer 2008), 49–56. bodhrán into genres beyond the realms of Irish Cunningham, Eric. “Bodhrán.” The Companion to Saturday 2:00 p.m. traditional music. Irish Traditional Music. New York: New York In addition to the four main historical eras, University Press, 1999. EDWARD STEPHAN we will discuss a few styles of bodhrán playing McCrickard, Janet. The Bodhrán: The Background to Symphonic Clinic that exist parallel to our narrative including the Traditional Irish Drum. Glastonbury: Fieldfare the long tradition of handstriking, tonal bass Arts, 1987. Saturday 5:00 p.m. playing, and the use of the bodhrán outside Morrison, Scott. “The History of the Bodhrán:

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