SAL W[ODERN METHOD FOR TYMPANI 4 SAUL GOODMAN Solo Typist, New Yor Pibamenic Smpbony Oro, tests of Tympani and Peco, Jind Schoo of Mati, New York SAUL GOODMAN 1906-1997 ‘Saul Goosiman, a naive of Brooklyn, New York, begun his timpani stadies atthe age of 1 with Alfred Friese of the New York Philharmonic. In 1926, he was enoled in a premedizal course at New York University Chen Friese reared duc to illness At he age of 19, Goodman became the orchestra's principal timpanist and SEN ea inthe position for an unprecedented 46 years, retiring at Ue end ofthe 1972 concer aeason Deseribed as living legend on his instrument, Mr. Goodman hasan unparalleled record as a teacher of simpant and percussion. He has students ling posts with most major American orhesta a well 50 in Burope and Asia. ‘Goodman, who aso served a the head ofthe percussion department atthe Jiliard School for 4t years, was desesbed atthe Heifetz of the timpani” by The New York Tines rte Harold Schonberg He was an secon Pisted insument maker end woodworker, building his own druns aswell as Leonard Berens Batons SECTION ONE—Fundamentals SECTION TWO—tTwo-Drum Exercises SECTION THRE SECTION FOUR—Repertoire for Tympani Three- a Four-Drum Exercises cover Photo by Bert ia! “Toanks to the New York Phiamonie Archives (© 1048 MILLS MUSIC, NC. (Renews) © Assignad (1988) fo BELWIN ALLS PUBLISHING CORP Ths aon © 2000 BELWTIR- HILLS PUBLISHING CORP. Ini Pighs Reserves anaesne i Leon Basin with Saal Gone Aa Toc wt Sto Good 153 ‘Su Gone Cares HallROLAND KOHLOFF Roland Koblof, a native New Yorker, has been principal | timpanist ofthe New Yark Philharmonic since 1972, he year he wie cseded his former teacher, Saul Goodman, Previously, be was the ‘principal timpanist of the San Francisco Symptony and the San Francisco Opera Orchestra, with whieh he Requently appeared as soloist. White sila student atthe Juilliard School, Mr. KoblofFmade bis professional debut as a percussion soloist in Stuvinsly’s L’Histoie cy Soldat and sso appeared withthe percussion section of the New York Philharmonic on the famed television program, “Omnibus.” In 1977, Mr. KohlofT gave the Now York premiere of Franco onatoi's Concert for Stings, Bras and Sola Timpani under the direction of Pie Boulez and performed with his collegues in the Philharmonic percusion section in the wor premiere of Mich CColgras’s Deja vu for Percussion Quart and Orchestra, commis- sioned by the New York Philharmosi. In 1978, be partcipated in musical history when he played with both the Philharmonic under Zubin Mehta and The Philadelphia Orchestra under Eugene Ormandy the ste nigh, In 1991, he gave the New York premiere of the Timpani Concerto by Sigfried Matus with the New York Philharmonic, Mr. Koblffbas been a faculty member of the Juliard Schoo! sine 1978 “f Mr. Kohlof’s contributions fo the Fundamentals section appear in italics and are based on his study of the material with Saul Goodman, GARY WERDESHEIM Gary Werdesheim is Professor of Percussion at the Florida State University School of Music. His training began in San Francisco with Reland Kobloff, allowed by thee years of repertoire study with Saul Goodman a te Julliard Schoo! in New York Ciy During those periods he played on meny occasions with the San Francisco Symphony, Opes, and Ballet; the New York Phillrmonie; tnd the Metropolitan Opera For five years he performed atthe Aspen Music Festiva. He has also taueht at the Aspen Music School, the Juilliard School, and Indiana University. Before deciding on at ing career, he was principal impanist of the New Jersey Symphony and the Royal Stockholm Pailbarmonic. ‘As both player and teacher, Mr, Werdesheimn knows the bene- fits of the proper study and eppication ofthe material i this book that has become a bible for so muny timpanists and played such an integral par in his own training, From its rst printing, however it contained disconcerting number of notation and sticking errors, and it has been his long-bld desie to do something about it. He was asked fo correct th erors, to offer alternatives to some of Mr. Goodman's sickings, and where i seemed help ful to provide stickings where none were originally indicated, Mr. Werdesheim believes that stickings, like bowings and fingerings, area matter of personal preference ‘nd are mean to serve one’s musical intentions. He encourages students o use his stickings aa guide unt they ‘develop an efficient technique and discover their own pares of tchnical expression [Mr. Werdeshelm’sstickings appear in non-bold italics,