Timpani Sticki!19. between two drums

Transcription

1 Timpani Sticki!19 between two drums In order to keep a basic hand to hand sticking and to avoid awkward cross-stickings and doublings, the following rules should be kept in mind:. 1. An even grouping of notes should begin with the inside stick (hand closest to the the second drum). A Jl t=m;e=" t ~====~r-----r-!-tr=d t = R l R l R l 00 rn B 5): j J m m:~-rt? ;EJ1==!=~1===~~~ S R l R l R l R l R l 2. An odd grouping of notes should begin with the out-side stick (hand farther away from second drum), l R l R R l R l l R l R l R R l R l R l Maintain basic hand to hand sticking throughout. F

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3 o Playing spot The middle of the skin is the WORST place to strike! 14 from the edge to centre (x marks the playing spot) Tuning (Foundational rule: Tune UP, not DOWN to note) 1) Pedal in low note position 2) Sound note (e.g. piano) 3) Sing note 4) Tap batter head 5) Gliss up to singing note Pre~rchestral histoly ofthe timpani o Arabic nakers, the direct ancestors of timpani, were brought to 13th century Europe by Crusaders and Saracens. These drums, which were small (with a diameter of about em or 8-8Y2 in) and mounted to the player's belt, were used primarily for military ceremonies. This form of timpani remained in use until the 16th century. o ID 1457, a Hungarian legation sent by King Ladislaus V carried larger timpani _* - 2 d on horseback to the court of King Charles VII in France. This variety of, been used in the Middle East since the 12th century. These drums evolved wdb. trmnpets to be the primary instruments ofthe cavalry. o 0w:I:.m two centuries, a number of technical improvements were J:!l~(k tn Ii.., - ()Ire-ny. the head was nailed directly to the shell of the drum. In the 15th a21tury, 1IaIIs cfuectly to * This allowed 18" to be attached and tensioned by a coullterhoop that was tied the early 16th century, the bindings were replaced by screws. I I-at become tunable instruments of definite pitch. 19

4 loud. Results with calf heads are both warm and open. 2. Flat Bottom Bowl ~., ' J J This bowl was modeled after the old European kettle shape where the hip is wide and the bottom made flat. The projection and clarity are good throughout the range, and the sound is quite dark. The sound decay is rather quick. 3. Parabolic Bowl l) The Parabolic Bowl produces a very bright sound because of this bowl's extremely round bottom. The projection is good and the decay is fairly rapid. Timpani hl!luls L Animal skin (calfskin or goatskin) Professional players prefer skin heads because the heads produce a warmer, better quality timbre. 2. Plastic (pet film) Plastic heads are durable, weather resistant, and relatively inexpensive. Thus they are more commonly used the skin heads. MIIlld choices: wide variety ofsticks offering different timbral possibilities._~--'--'--~-_. :,:",-,_..

5 History note: In the early 20th century and before, sticks were often made with whalebone shafts, wood cores, and sponge wraps. Composers of that era often specified sponge-headed sticks. Modern timpanists execute such passages with standard felt mallets. Timpani range a Standard set: four drums with a good range of a fifth (other notes closely around these are possible) (piccolo timpani) 32indt 29 inch 26 iu('h 23 inch. '~ 2.0 inch ---I..., I.-:- I..,;... ~ ~. ~ C\' ~~1r. p\ SItlJlMnlIilltpmipositioning I Music stand I 29" JI-' ta\i f\~ ~ -i t).j'l/c'-'-..."... 26" I. 32" 23" Timpanist PfIl.1ing techniques: mujjling and playing spot o The typical method of muffling is to place the pads of the fingers against the head while holding onto the timpani stick with the thumb and index finger. ~ ~.-- '-'-"'-' '-.--:-:.=---:-..;,-,-..:... '"':':"-:-.,~-' '-- ---'-----:='~;