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Through the use of notated charts, reference recordings, and play-along tracks, this book provides unique insight into Martin’s application of the bodhrán in the contemporary Scottish folk music of Ross Ainslie, Ali Hutton, and Hamish Napier. Co-written by Andy Kruspe.
Tracks included :
• ACTION by Ross Ainslie & Ali Hutton
• Huy Huy! by Hamish Napier
• DOC’S by Ross Ainslie & Ali Hutton
• KINGS by Ross Ainslie & Ali Hutton
• The Mayfly by Hamish Napier
The bodhrán of today is an extremely versatile instrument that can be found in a number of musical styles. It is no longer solely a drum of traditional music, and it is now heard in genres such as contemporary folk music, musicals, large choral works, movie and video game soundtracks, and contemporary chamber music.
As such, the ways that we now play the drum have changed in order to accommodate this wider range of applications. The more traditional method of performance requires an in-depth knowledge of the repertoire of Irish and Scottish folk tunes in order to improvise rhythms that would best support those tunes. Modern applications can at times require a combination of drum-set chart reading, chamber music sensibilities, and working with uncommon instrumentations.
This book presents one of the non-traditional ways of performing on this drum in a modern context, particularly as it applies to contemporary Scottish folk music. Although the roots of the music of Ross Ainslie, Ali Hutton, and Hamish Napier are traditional in nature, their incorporation of drum-set, synthesizer, and other non-traditional instruments requires an atypical approach to the bodhrán.
The most obvious distinction of this approach is the use of charts (sheet music) that define what the bodhrán player needs to play in order to function within the ensemble. This requires the player to read and perform using a system of notation that is very much like that of the drum-set.
It is important to note that the charts contained within this book serve as a guide for performance, not a note-by-note dictation of what should be played. They merely indicate the form, style, and basic grooves that underpin the compositions. This will become clearer when the bodhrán-only tracks are compared to the notated charts. Stylistically, it is appropriate for the player to take some liberties with what is played, but there is definitely a lane in which he or she must remain. (Please note that the bodhrán-only tracks serve as references, not as play-along tracks.)
Finally, the bodhrán has indeed brought much into our lives- memorable performances, the ability to see and experience new places, broadened horizons, and more importantly, friendships with amazing people from around the world. We hope that this book not only broadens your own horizons with this drum, but that it also brings you some of the many things that keep this instrument a central part of our lives.
Martin and Andy