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Timpani

Timpani, also known as kettle drums, have historical roots dating back to the Crusades and were used in various musical ensembles. Key aspects include maintenance, mallet types, and proper positioning for optimal sound production. Major manufacturers include Yamaha and Ludwig, with specific techniques outlined for playing, tuning, and muffling the instrument.

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3 views

Timpani

Timpani, also known as kettle drums, have historical roots dating back to the Crusades and were used in various musical ensembles. Key aspects include maintenance, mallet types, and proper positioning for optimal sound production. Major manufacturers include Yamaha and Ludwig, with specific techniques outlined for playing, tuning, and muffling the instrument.

Uploaded by

ssrs6vyypz
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Timpani

Translations

● Italian- timpani
● German- pauken
● French- timbales
● English- kettle drums

Historical Information

Timpani were brought from the east to Europe during the Crusades of the 11th through the 13th Centuries.

They were referred to as nakers or tables.

They were used for_______and _______ purposes.

Usually carried on horseback and used with the calvary and trumpets.

Lully is accredited with using the timpani in his opera Thesee (1675). However, evidence shows that trumpets and timpani
were used in musical ensembles of the English masques from 1604 onward.

Timpani Companies

● Yamaha
● Ludwig
● Adams
● Premier

Head Types

Plastic is preferred but also available in calf or goat skin

Styles of Mechanical Adjustment

● Balanced Action Spring Tension Pedal


●
● Ratchet-less Pedal
●
Drum Sizes and Ranges
Mallets

Shafts are made of wood, bamboo or carbon fibre


Head design is either parachute or cartwheel
Heads are mostly covered in german felt
Heavy mallets create a darker tone
Light mallets create a brighter tone
Smaller mallets create a_______
Larger mallets create a legato sound

Maintenance

Proper Adjustment to the Spring Tension

1. First confirm that the bottom pitch is correct


2. If the pitch slides up, turn the spring tension screw counter clockwise
3. If the pitch slides down, turn the spring tension screw _____

How to change a timpani head

1. Take the old head off in the same manner as a snare head
2. Clean the inside of the copper bowl
3. Replace the_____ or teflon spray on the bearing edge if needed
4. Inspect the felt on the inside of the counterhoop and replace if needed
5. Put the head on just like a snare head and tune to the correct low pitch
6. You will need to “clear” or tune the head multiple times over weeks before it retains pitch

Drum Position

● Place the 29” and the 26” directly in front of the timpanist or stool with pedals towards the performer
● Set the 32” and the 23” by rotating the upper body. Do not reach or pull _____
● Set the drums up in more of “V” shape…avoid the “U” shape

Stick Placement

The distance between the mallet heads changes the tone

● For a more articulate sound, play the mallets directly over the top of each other
● For a less articulate tone, spread your contact placement about 6” apart

Experiment with moving the mallets from the bearing edge to the center. The general playing area is about 1/3 of the way in
from the edge
Stroke

Your approach can be very similar to snare drum in the beginning.

● If you rebound quickly, you can achieve a more articulate tone


● If you play more into the head, you can create a more legato tone

Rolls

Always use single stroke rolls and listen to the roll speed

● When rolling in the lower range, you _____


● When rolling in the upper range, you need to roll faster
● When rolling louder, you need to roll faster
● When rolling softer, you need to _____
● More tension on the head requires a faster roll speed

5 Step Aural Skills Process

1. Match pitch by _____


2. Match pitch on drum
3. Sing intervals
4. Tune intervals on drums
5. Repeat steps 1-4 with an A440 tuning fork

Sticking

● Alternate whenever possible


● Start on the hand to avoid cross sticking or doubling if possible
● When no other options present themselves, you can cross stick or double
● Cross sticking can be executed when playing loud and fast hand to hand passages
● Doubling should be used when the passage is slow and softer

Muffling

Muffling is executed by stopping the drums sustain when lightly touched with the finger

●
● One should muffle when the score dictates
● One should muffle when longer notes are sustained in order to “clean up” the tone

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