Let’s hear it for the humble bodhran, victim of another slagging on the pipers forum recently. At the Oxford Folk festival last Easter one of the most oft talking points was Kevin from Lunasa’s Bodhran playing, it was simply sensational, and really touched people, players and non players alike. At the recent ‘Floating Tionol’ the Bodhran playing of Brian Howard really enlivened and certainly lifted my piping. As Malachy Kearns says TO HELL WITH THE BEGRUDGERS, they’re just jealous of the bodhrans ability to connect with the heart and soul of the listener.
yes badly played bodhrans are a curse, but so are badly played guitars, boxes and yes, badly played uilleann pipes.
Badly played anything, especially woodwind instruments, are an assault on anyone’s sensibilities. I too wonder why bodhrans get such a bum rap…no pun intended. I can see from a ‘sessioners’ point of view, where a poorly played drum can upset the rhythm of a set of tunes, or if the volume of the drum is drowning out melodies… but really, any instrument can do this.
I am of the opinion that slagging the bodhran is now almost always expected from ITM players, judging by the way I hear some people speak about it both on and off forum. It is not the instrument, but the player that makes the difference between good playing or not.
Personally, I like to play, and listen to the bodhran behind a ripping set of reels or jigs…it adds a heart beat to the music that otherwise is sometimes not there. It is a useful instrument that I would like to see embraced by more ITM players…besides, it is too bloody small to make a good trampoline.
I think the slagging comes from a couple of sources, one being Séamus Ennis suggesting the best way to play bodhrán is with a penknife, and the other from bodhrán players themselves. Ever tried to hear yourself think with twenty bodhráns all trying to take the floor at once?
Lots of people like the bodhrán, and some think it is the easiest instrument to pick up in order to start playing ITM. When they hear of a session, they all show up at once, and don’t want to sit out any tunes so that only one bodhrán is playing per tune.
The other problem is that people who are only beginning to play haven’t quite figured out that they are “accompaniment”, i.e. they are not the lead instrument, and try to drown others out so they can hear themselves play.
There is definitely a place for the bodhrán, but it is not front stage centre.
I agree, the bodhran is not a lead instrument, and newbies to sesions do tend to believe that it is…at least in my experience. And I think we all have experienced the 20 drum to 1 whistle, pipe fiddle ratio. But it is really the bodhran player, not the drum, that creates the problem. With sessions open to all, this will always be a problem…personally, a ratio of 20 shrill whistles to 1 fiddle, pipe or box gets the hair on the back of my neck to stand up also.
A solution to this could be to hold forth at somebody’s home, by invite only, and rotating host homes weekly. In this way nobody gets overwhelmed by an army of any single instrument and the musical experience is better able to be enjoyed. Having a session in a public place often causes hard feelings toward bodhran/guitar players who tend to show up en-masse looking for a chance to play the music we all love, but who seldom have the chance to play with along other musicians.
I’ve been a knocker of Bodhran players on C&F in the past, but this last week I’ve been wishing for one in our (English Folk Dance) group. We need a steady beat to keep us all in check and not keep speeding up, and the double bass & guitar just aren’t doing it - they’re too quiet.
The current lineup is 4 fiddles, 2 Mandolins, 5-string banjo, guitar, double bass, melodeon. One fiddler sometimes switches to recorder, and another occasionally to whistle/flute. We hope to have a concertina in the Autumn, and maybe even pipes occasionally.
For me, fiddles & flutes stack up nicely without becoming overbearing, but most other instruments you only want one of in a group. Bodhran is definitely one of those.
Flook do a nice thing in their concerts (I’ve seen them live twice) - they give the bodhran player (John Joe Kelly) a spot to himself, and he holds the audience spellbound for about ten minutes. If you’d missed the point of the bodhran before then, this is an eyeopening jawdropper.
Mea maxima culpa. Yes, I stoop to the jokes; they’re so easy. BUT: lest any have ever missed it, I’ve said it before, and I’ll say it again: I very much appreciate a good, tasteful bodhrán accompaniment, and will seek it out especially if I’m soloing on flute. That’s a primal and classic combination that can’t be beat (pun intended ), and when it’s done well, I dig it much.
Skillful playing covers a wide range of styles, too. I prefer the understated where the effect is like the low and steady rhythms of a bull fiddle or bass guitar, insted of a virtuosic lead instrument. Solo spots would be the place for that, IMO.
Really, I sort of feel left out. You don’t hear much in the way of flute jokes. sniff
The following is my opinion only, and I’m prepared to be shot down, but here goes:
A good bodhran player HELPS to provide a rhythmic structure for the other players. A good bunch of musicians don’t NEED him, as they will have their own solid rhythmic drive, and he shouldn’t forget that they don’t need him.
A good bodhran player plays occasionally, coming in and out, and often elects not to play at all. His ego should, like all musicians in a group setting, be there but on the back burner.
A good bodhran player puts his drum under the table immediately if another, lesser, bodhran “player” gets going. In these circumstances a good bodhran player knows that the game ain’t worth the candle.
And I won’t brook dissent - a good bodhran player does not play unless he has at least a passing acquaintance with the tune. “It’s a reel and I know how to play reels…” won’t do.
A good bodhran player does not attempt to play tunes on his drum. About three bodhran players in the entire world should be allowed to do this, and only when I’m not listening. He is there to provide a solid rhythmic undercurrent. Please note the prefix UNDER in that word.
Under no circumstances whatsoever does a good bodhran player lend his drum to anyone else in the pub - not for one single tune - even if under death threat.
A good bodhran player may or may not play another instrument, but he knows the difference between reels, jigs, hornpipes and polkas and provides appropriate rhythmic accompaniment accordingly.
Any bodhran player who attempts to play along with slow airs (you think I’m kidding don’t you?) should have his privates painted with honey and then be introduced to the dancing ants.
Apart from that I love all good bodhran players. Yep, both of them. Just before the lynch mob arrives, I should like to apologise for using “him,” “his” and “he” throughout for sheer convenience. The very worst bodhran player I came across was a woman. There, I’ve redressed the balance!
…I know, I know. It just happened to be a bodhran thread, and I suppose we shouldn’t stoop. It could just as easily been guitar accompanists in the frame - gimme strength! Come to think of it there are some terrible harmonica players about too. We once had a woman in our session who had tambourines strapped to her lower legs whilst at the same time she shook one of those egg things, or played a plastic recorder. Now there’s the kind of person we could possibly ALL agree about. I stopped going to that session by the way. It wasn’t just her - the guy with the E flat bass and sousaphone and his pal with the contrabassoon didn’t help either. Not one word of a lie!
Now wait just a moment, Steve. There is a very long and noble tradition of sousaphone playing in ITM and I’m sure if you took a moment to just listen to them and ignore the smell and … oh, here comes the nurse with my medication. I’m a good boy!
I took a bodhran lesson from my whistle teacher and I’d like to work on it little by little. But i have to say that thanks to all of you, I know that if and when I ever try to play with others, I’ll be very mindful of the etiquette.. My fellow musicians thank you in advance.
Any programmable drum box would do the trick. You are not likely to find any pre-determined ITM patterns, but programming your own would certainly help you get it straight in your mind what you’re trying to accomplish. The actual drum sample you choose wouldn’t matter too much, but I suppose if you had some Latin voices you could go with some low congas, or any hand drum would be close.
If you are willing to do a little programming there is a nice metronome/drum machine that can be purchased as a PC-based software. Check it out here: http://www.ugcarray.com/vko/mundosoft.htm . I haven’t used it in a while but I used it lots when I was playing flamenco, which is what it was originally designed for. The makers are always looking for new rhythms to add. Given the popularity of Irish music now they might like some “Celtic” rhythms.
Mike
a good bodhran player does not play unless he has at least a passing acquaintance with the tune. “It’s a reel and I know how to play reels…” won’t do.
Come to think of it there are some terrible harmonica players about too. We once had a woman in our session who had tambourines strapped to her lower legs whilst at the same time she shook one of those egg things, or played a plastic recorder. Now there’s the kind of person we could possibly ALL agree about. I stopped going to that session by the way. It wasn’t just her - the guy with the E flat bass and sousaphone and his pal with the contrabassoon didn’t help either. Not one word of a lie!