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WODERN METHOD FOR TYWPANI SAUL GOODMAN Solo Tympanist, New York Philharmonic Symphony Orchestra, Instnictor of Tympani and Percussion,Juilliard School of Music, New York.

SAUL G O O D M A N Young in years but a veteran in every manner of percussive musicianship, Saiil Goodmnn 1x1s been solo tymp:iiiist with the N e w York Pliilharii~oriicSymphony Orchestra sinct 1926. As a member of this farnoiis niiisicnl organization he has played untler thc world's foreri-iost conductors, being a rnember of tlie orchestra during the decade that the renowned Arturo Toscanini was its maestro. Composer of many solo works for tympani, Mr. Goodrn:tn played the first performance of a tympnni concerto

to be broadcast. Bcsides the N e w York Pliillinrmoiiic Syinphony Orchestra, h e has appcared witli niiincrous radio orchestras, in motion picture prodiictions 2nd with sympliony orchestras whicli liave recordcd for Columbia, Victor and Decca records.

A native of New York City, Saul Goodnian studied Tympani under Alfred I'ricse, wliom he succeeded as Tynipanist of the New York Philharmoriic. In aciditiori t a liis curreiit playing ;ictivities, lie is a meniber of the faculty at the Juilliard Scliool of Miisic where lie tcacl-ies tyrnpani aiicl pcrcussiori. H e is nlso a visiting professor of tympani and percussion a t the Conservatoire Du Musiq~iein hlontreal, Canada.

Copyright 1948 by Mills Music, Inc., New York, N. Y. International Copyright Secured Made in U.S.A. All R~ghtsHeserved

CONTENTS Introduction

...

3

Counting Rests

The History of the Kettledrums............................................................... Various Types of Tympani (Foreign Types) ..............................

4

Various Types of Tympani (American Types) .......................

5

Valuation of Notes and Rests.....................................................................

6

. .

Terms, Abbreviations and Signs...............................................................

8

SECTION ONE - Fundamentals....................................... Tuning Designations

9

9

......................................................................................

Foreign Terms Used T o Indicate Notes T o Which the Tympani are T o Re Tuned ..................................................................... 9 Accidentals

9

.............................................................................................................

The Grace Note or Appogiatura ............................................................ 42 44

SECTION T W O - Exercises For the Development 46 of Technique on Two Drums................................................... SECTION THREE - Three and Four Drum Technique ............................................................................................................ 61 Three Drum Exercises.......................................................................................

62

Four Drum Exercises

67

Technique with the Pedal Tympani

.....................

Five Drum Study

69 72

SECTION FOUR - Repertoire for Tympani............... 73

Care and Maintenance of the Tympani.............................................

10

Symphony N o . 101 (Haydn) .................................................................

73

Type of Tympani Stick T o Be Used ......................................................

10

Symphony N o . 5 (Beethoven) ..............................................................

76

Sticks For Specialized Use..............................................................................

11

Symphony N o . 7 (Beethoven) ...............................................................

80

Method of Tucking the Tympani Head .............................................

11

Symphony N o . 9 (Beethoven) ............................................................

84

Range of the Tympani .......................................................................................

12

Symphony N o . 4 (Mendelssohn-Bartholdy) ..............................

90

Tympani Sticks

13

Symphony N o . 1 (Brahms)

93

Training the Ear in Preparation For Tuning the Tympani 14

Symphony N o . 4 (Brahms) ........................................................................

98

Tuning the Tympani..........................................................................................

16

Symphony N o . 4 (Tschaikowsky) ......................................................

103

Tuning With the Pedal Tympani ............................................................

17

Symphony N o . 5 (Tschaikowsky)

109

. .

.....................................................................................................

.

.

......................................................

Method of Changing the Pitch of the D m s From Intervals Alreadv Established ............................. ............................................. 18

Finlandia (Sibelius)

Method of Changing the Pitch of the Drums From the

Funeral Music (from "Die Gotterdarnmerung") (Wagner)

Fixed Note A ......................................................................................................

18

Arrangement of the Tympani

20

Holding the Sticks................................................................................................

21

. .

Striking the Tympani

22

The Proper Method of Execution............................................................

22

Moving From one Drum to Another ..................................................

24

The Roll

26

Muffling the Tympani ...............................................................................

31

The Loud Roll ......................................................

33

The Forte Piano

Dynamic Contro1 ......

34 .

............................................................................................

Staccato Technique

117

118

Symphonie Fantastique (Berlioz) ......................................................... 119 Till Eulenspiegels Lustige Streiche (R . Strauss) ........................ 120 Schelomo (Bloch)

........................................................................................

L'Oiseau de Feu (Strawinsky)

,.l23 124

Concerto for Violin and Orchestra (Hindermith) .................. 126 A Stopwatch and an Ordnance Man (Barber) ........................... 127 William Billings Overture (William Schurnan) ..................... 128 Fugue in C Minor (Bach-Mitropoulos) ............................................ 128

.

( f p ) RolI.........................................................................

Cross Hammering

..........................................................................................

.

35

Symphony N o . 3 (William Schuman) ................................................ 129 American Salute (Gould) .............................................

.............................. 130

36

Theme and Variations (Gaodman) .................................................... 131

40

Timpiana (Goodman)

..................................................................................

132

Introduction The purpose of this book is to present in a progressive sequence, the rnaterials which are necessary for the training and development of the modern Tyrnpanist. The book is divided into four sections as follows: Section 1. The fundamentals of Tympani. Section 2. Graded exercises for the developrnent of technique o n two drums. Section 3. The technique of three and more drums, and technique with the pedal Tympani. Section 4. Orchestra1 studies and solos. The development of the Tympani has progressed by leaps and bounds during the last twenty years. In addition to the many complex rhythrns of modern cornposers, the tympanist is now confronted with every conceivable type of effect, as a result of the free use of the pedal drums and the dernands made on the player by both cornposer and conductor. It is apparent that the rnodern tyrnpanist must be a good musician. The satisfaction of being a proficient Tympanist is without equal, for the Tyrnpanist's position in the orchestra is unique. In fact, he is often called the "Second Conductor," for no other instrument has the range of dynamic power which the proficient Tyrnpanist controls so precisely. The rnethod of playing no othcr instrurnent in the orchestra has caused such controversy as the rnethod of playing the tympani. The rnethods ~isedin playing it are as rnany as there are players. Certain similarities do exist, of course, but actually the rnethod used is as individua1 as the player himself. Whether or not one agrees with any particular system, the irnportant thing to remember is the results obtained with it. The rnethod used by the author has achieved results of the highest order. In the following pages it will be developed so that the student will have a rnost complete and orderly conception of the Tympani.

The History Of The Kettle Drums The first record of the use of the kettledrums goes back to ancient tirnes when it is known that they were used in religious cerernonies by the Hebrews. Whether the kettledrurns of this period had any definite pitch is not recorded. The word tympanum cornes from the Greek which means to strike. In ancient Persia the kettledrums were used to hunt wild birds, the violent striking of the drums causing the birds to fly about enabling the huntsmen to shoot thern down. The glarnorous period of kettledruming existed during the middle ages when kettledrummers formed themselves into a guild, the entry into which called for a long period of apprenticeship. At this time the most honorable privilege of the kettledrumnier was to participate at the tournarnents of the knights and nobles. During the seventeenth century kettledrums received their first musical distinction by being used with the trumpets to punctuate the tonic and dominant of the key and to give rythrnical support to the music. Beethoven was the first composer to radically change the tuning of the drums by startling the musical world with the tuning of the drums in octaves in the eighth and ninth syrnphonies. Hector Berlioz realized the further possibilities of the instrurnents by tuning them in thirds and fifths thus creating an entire cliord with the drums. In the Symphony Fantastique, four kettledrurns differently tuned are used to create the effect of distant thunder. Most cornposers of this period realized the harmonic value of the drurns but due to the mechanical limitations of the instruments then in use, often neglected to indicate changes of intonation and as a result the Tympani were used often as a percussive effect without any harmonic value whatsoever. Richard Wagner saw the tremendous dramatic effects obtainable with the kettledrums. In severa1 of the Ring operas two players are used with many important parts assigned to thern. With the advent of thc pedal Tyrnpani composers have run rarnpant with the drurns and today the drums not only have rhythrnical and harrnonic value, but are often called upon to play actual melodies with the most startling effects thus obtained.

Various Typ

Of T y m p a n i TYPES

E~rlicstModel of Hand S ~ r c w'I'y~npani

Macliinc 'l'ylnpnni O p c r ~ t e dby Oric Scrcw

a

Early Model Portable Mncliinc Typc Tympani Opcratcd by Turning Onc Scrcw

Pedal Tympani

AMERICAN TYPES

Harid Screw Typc

i\,

't

Portable Machine Tympani Opcrdted by Turning l ' w o Screws; In\cntion of SAUL GOODMAN

i

'\

-LICI

I

1.ecdy Pedal Tympani Mfg. by Lecdy Drum Co., Elkhart, Ind.

Ludwig k Liidwig Pcdal Tyrnpani Mfg. b y L~iclwig& Luriwig, Cliicago, 111.

WFL Pedal Tympani Mfg. by WFL Drurn Co., Chicago, 111.

SlingcrInnrl Pcrldl l'ympani Mfg. by Slingcrland Driiin Co., Chicago, III.

Valuation Of Notes And Rests

II

:: 8 I

I

1 I

I

J

J

11

.I

I l

I l

.

,

I

I

I

t I

I

I

II

I I

1 I I I I I . 1

16th notes l

I I

I.

I * I I I , I

.

,*

,

*

I

I I

8

s I I

i

i

l l

1 ,

I &

II I I

I I I

I

I

I

i

i I

e 1

I

,

,i

,

-

I

i :

I

I

I

I I

I 8 I I I i

II I 8 II 1 I I e

1I

lI I I

lI I l

I

I I I I I I

*

el ' I I I I I I I

e

*

: :

I

,

I e I

I

I

#

8 I

,

1

l

; ;

(

I

, , i e

II Il II I I 8 1 8 # I

s

I

,

I I l I

,

I

i

8

I* I I

I

;

*

II I

::

I I I I I I I I

1 l

I I

!

I* 4

II

I I '

i

1

8

,I

*

;

i

t 4

*

. ;

I

,

"

i

I

I

I I I 1

0

1

, I

I*

l ,

I

l l

I I

I

I I

II I ,

I

I

I 1

,I

)

16th notes

32nd notes

RESTS

or whoìe

or half

64th notes

i I

I

I I

I

l

e

1

I 1

,,

,1

I1

This is hoa 8th, Ibth, 32nd and 64th notes appear when written separately (not in group form.)

8th notes

n

II

1 1 I '

A dot placed after a note or rest increases its value by one-half

I

Written

cm.

ri

I

I I

I

.

I

I .

I

I

l

I

I *

I

I

I.'

I

m. I VI

Equals

These notes are equivalent to these rests

cm

.

I rJ

.

I.

I

I

Written

I.

E qual s

I

l

l 1

I

I

I

I

I

I

I.

I I

I

I

I

.

L I

I * A

.

I A

'

I

V

l

I

u *

I

u I

II . VI

V

H .

I

I

l

ri U

LI I

I

I

I I

Y

u U

I

U

U

W I

Two dots after a note or rest increases its value by three-fourths

Written

Written

Equals

Equals '

l

l

r

'

Y

Artificial groups of notes which are played in other than their origina1 form

J 7

played in the value of

The Triplet The Sextuplet

~7Jm

Group of five

J

played in the value of

J

Group of seven

!JJ!JJJ

Group of four

J

Group of two

h

Group of three quarters

J l

Group of three halves

J

3

d

notes.

JmJ

played in the value of

J

played in the value of

J

notes.

played in the value of

7

I

J J J

played in the value of

notes.

notes.

~

J

'

played in the value of

&

played in the value of

d

I

notes. notes.

J d

notes. notes.

J

Terms, Abbreviations And Signs T E R M S Accelerando (at-cha-le-ratz-do)

Gradually faster

Adagig (a-da-16)

Very slowly

Ritardando (re-tar-dcitl-do) Ritenuto (re-te-troo-to) Simile ( rzt71-i-le)

Retarding, holding back Contin~iein the same way

Ad libitum (ad-l~b-i-tum)

At Iiberty

Allargando (al-lar-gztz-do)

Broadening out

Sostenuto (Sus-ten-oo-to)

Moderately i ast

Staccato (sta-ha-to)

Allegretto (al-le-grei-to)

Quick, Iively

Allegro (a-ln-gro) Andante (an-dclt2-ta)

Moderately slow

Andaritirio (:n-dan-le-no) Animato (an-e-tt~n-to)

A Iittle faster than andante With animation

A tempo ( a tem-po)

At tlie original rate of speed

Bih (bis) Chromatic (kro-vtat-ik)

A number of measurcs

Con brio (kon h16-o)

With lifc and fire

Con moto ( k o n - n ~ o - t o )

W t t h motion, not dragging

Con spirito (kon rpe-re-to)

With s p r i t

Crescendo (kre- thetz-do)

Gradually louder

Da Capo (d.1 ha-po)

Return to the beginning

DAIsegno (di1 ra-yno) Dct rescerido (da-kre-rbelt-do) Diminuendo (de-mc-uzt etr-do) Fine ( j r - n a )

Loud Very loud Accented , W i t11 sudden emphasis

Leggicrc (led-le-a-re)

Slowly

forte, loud

ff fff

forti$iimo, Very loud fortefortissimo, Extrernely loud

fP mf

forte-piano, Strongly attacked and immediately \oft. inezzo forte, The medium bctwcen solt niid loud

P

piano, Soft

PP

pianisiimo, Very soft pianopianissimo, Extremely soft mezzo piano, Medium betwcen soft and very soft sforzando, Very strongly accented

sfz

diminuendo

Rit

ritenuto

Rall M.M.

1 = 96

Slowly In the same time Majestic, with ciignity But not too muc!i Marked, accented In march tempo and style Less movement, slower Modcrately solt Moderately loud

Moderato (mocl-e-r2j-to)

D S.

Dal segno

D . C.

Da capo S I G N S

Moderdtely

:Il 11: m

Crescendo, gradually increase the volume

W

>

e %

JJJ

l'resto (piei-tol Prcztissimo (P,ei I-tis\-i-mo) Ralleritai~cio(ral-en-tlr~z-do)

Rapidly,

\

ery quick

Rapidly as po5sihle Gradually 5lower

Beginning of a repcdted section Fermata, pause, Iiold, sustain tonc beyoiid

Decrescendo, gradualIy decrease the volume

Very, much

Smaoth, e\en, soft Little by Iittle

11:

or in its dbsence to the beginning

its value. Watth thc dircctor

Dyirig away Extremely soft

Repeat sign, rcturn to this sign

Z=

Morciido (mo-I671-do)

Poco a poco (pn-!io a po-Lo)

An indication ~f thr number of beats per minute trill

Molto ( ~ t ~ o l - t o )

Pidno (111-('-no)

rallentando

Tr

Easily, Iightly

Lento (letl-to) L'istesso tempo (lic-ter-so tenr-po)

f

Play fully

Legato (le-gn-to) In a stnooth, subtdined manner Leggcrmcntc (Icd-jelir-a-n~e>r ta) Easily, Iightly Leggero (led-le~- o ) Easily, Iightly

Pianissimo (pc-.i-lili-i-mo)

A waltz Lively, rapid

A B B R E V I A T I O N S

Dim

Largo (la?-go)

Mezzo forte (tncd-zo /61-t,i)

All, togcther

Valse (VAI$)

Cradually softer Gradually softcr The end

Giocoso (jc-o-ko-zo)

Meno mosso (ma-no nro r-so) Mczzo piano (mcd-zo pi-a-no)

Hold fu11 vdlue or a Iittle over

Vivace (ve-Li-cha)

PPP

Forte (j61-t'i)

hlarcia (ma,-che-à)

Tenuto (ta-)zoo-to) Tutti (100-te)

From the sign

Fortitsimo (f6r-tt I-i-rno)

Ma non troppo ( m i non tro-po) Marcato (mar-ha-to)

Tempo ( t e ~ r - p o )

Proceeding by half tones iised to close a composition

Maestoso (mi-es-/o-so)

Suita:ned Very short Time, rate of movcment

Repeat meas~ire

Coda (ho-di)

Forzando (fbr-t inn-do)

Retarding, holding back

Accent or stre\i the tone Coda sign, go dircctly from this sign to the jection marked Coda Segno, repeat from this sign Staccato, play tones in a disconnected mdnner arid generally onc-half of thcir fu11 value.

8-

Play one ott,ivc liiglier tlian written

T

Coma, \top sliglitly before proceeding

-J

Sustain the tone to its full value Repeat the preceding measure

t

Repeat thc preceding two measures

x

SECTION ONE T u n i n g Designations The notes to which the tympani are to be tuned are designated in severa1 ways: At the beginning o € the piece to be played may be found the heading TYMPANI in C & F, A & D, etc. or a small staff placed at the beginning or the key signature placed on the staff

Note: With some modern composers no tuning designation is given, but the notes and their accidentals are indicated as they occur.

Foreign Terms Used To Indicate Notes To Which The Tympani Are To Be Tuned ltalian

German F G A

French Fa

Fa

Sol

Sol La Si Ut Re Mi

La Si Do Re Mi

H (Ha) C D

E

Accidentals In Italian or French the word Benzolle or Benrol means flat and the word Diesis or Diese means sharp. In German Fis means F#, Ges means Gh, As means Ab, Ha means B natural, B means Bb, Cis means C#, Des means Db and Es means EG. N&: With some of the seventeenth century composers, al1 tympani parts were written in C and C; and their tuning designation given at the beginning of the part to be played: Example

Tympani in D & A l

i.

I

J I

I

l W

I I

'

W

etc.

Whcn these parts are encountered the player should be careful to note the correct tuning of the drums given at the beginning of the part.

Care A n d M a i n t e n a n c e Of T h e T y m p a n i W h e n Tympani are not in iise, they sliould be placed away from heat of ariy kirid. Care sliould be taken riot t(> relax the tension on the heads entirely or allow too.much tension on the Iiead. If the drums are to be used under extremelf damp conditions the heads should be left with a very srnall arnount of tension when not in use. If the drums are to be used under extremely warm aiid dry conditions they are best left iri tlie following coiidition when not in use:

T h e large drum tuned to

Bb

T h e small drum tuned to Eh.

This will help in rniiritaining the "Collar" which is important i11order to obtain the lower notes. W h e n Tympani are not in use the heads should be tuned carefully. This will help to insurc clear even intonatioii when they are to be played on again. If as a result of extremely dry conditions the Tympani head should have Iort it's "collar," the Iicad sliould be removed from the drum and moistened on both sides, care being taken that the oid creasc in the head is well softened before the head is replaced on the kettle. W e t t k g of the head on one side nrily should be avoided although this may be done with the liead on the kettle when sufficierit time does riot allow wetting both sides. It should be noted that too much wettirig of the head kills the life in the iiead ancl ofteri results iri makirig it false and toneless. Proper tucking of the head will greatly assist in stabilizing it and the elirni~iatioiiof unnecessary moistening. Al1 moving parts should be kept free arid screws well oiled.

T y p e Of T y m p a n i Stick To Be Used T h e handles of Tympani sticks are best made from straight ~ r a i n e dhickory or rock riiaple. An clastic type handle is not recommended. A rigid handle helps produce the best tone and a clear concise beat. T h e handle itself may be from thirteen to fifteen inches long, depending on tlie prefereiice of the player. T h e recommended type of balls for the stick are tlie "Cart Wheel" and the "Ball" types. T h e Cart Wheel type is constructed as follows: T h e hard inner core should be of liard felt about one and one quarter inches in diameter and one iiicli iri tliickness. Around this inner core is sewn a thin layer of medium felt the same width as the core. Around this layer is sewri a layer of soft damper felt. This should produce d ball approximately two inches in diameter. Construction of the "nall" type s t i ~ kis as follows: T h e inner core should bc of wood or liard felt about one iiich in diaineter 3 r d about three q~iartcrsof an inch in thickness. Over this core is placed a piece of medium hard felt sewn in the forni of a b3g aiid pulled tiglitly over the core. On top of this is placed the soft damper felt sewn i n the form of a bag arid pulled tightly over the rcsulting core. This ball when finished should be about two iiiches in diarneter and one and three quarters to t u o inclies in lengtli. I t should be noted that the larger the ball the greater amount of tone will be prodiiced. 1 Io\vcver, balls tliat are too large will produce a stifled sound o11 the Tyrnpani. A head urider extreme dry conditions \vi11 iiecd a stic.k witli a large ball to produce the proper amourit of resonance. Coriversely urider damp coriditions a snialler ball 1s recornmended because this conditiori tends to make the head vibrate more freely.

A hard stick should not be used when there is not miich vibration in the Iiead. T h c best typc of stick to use fur genera1 wark is one that will give both tone and clearness.

Sticks For Specialized Use Wood Sticks (Holz Schlegel, Baguette en Bois) are used to produce piercing and sharp rhythmical effects. This type of stick should be used with the utmost discretion and only where indicated by the composer. A small wooden ball one inch in diameter and one inch in thickness mounted on a regular Tympani stick handle is sufficient. For very fast passages that are to be played very softly, a stick with a very small ball is recommended. To further prevent the vibrations of the head from interfering with the clarity of the beat, placing a small piece of soft felt or a handkerchief on tlie head where it adjoins the rirn, will help in making the beats clearer.

M e t h o d Of T u c k i n g T h e T y m p a n i Head Before tucking the Tympani head it should be determined beforehand whenever possible under what conditions (dampness, dryness, heat, etc.) the head will be subjected to, when in use. For example, if the head is to be used under extreme dry conditions it should be tucked with a large amount of slack. If on the other hand the head is to be used under extreme damp conditions it is recommended to tuck the head Aush eliminating al1 the slack. Under moderate conditions it is best at al1 times to allow a srnall arnount of slack in order to compensate for slight changes of conditions in either direction.

F.) for about thirty minutes until it is soft and pliable. A heavier head will require a little longer soaking than a thinner one. Care should be taken not to soak the head in water that is too cold or too warm. Over soaking the head will cause it to lose its finish and bring on the appearance of white spots (in a transparent head) . i . Soak the head in cool water (about 65 degrees

2. After the head has been soaked for the proper arnount of time spread it out on a large table wliich has been

covered with paper. With a soft cloth remove al1 surplus water, first on one side, then on the other.

3. Determine the beating side of the head by the one having the smoothest texture. Most American made heads have the manufacturers stamp on the beating side.

4. Place the head on the table with the beating side facing the table. (If the head is to be put on reversed, the beating side should be placed face upward) 5. Regulate the amount of slack in the head by placing a wooden bowl (or a ball made from paper) under the exact center. IMake sure that the backbone of the head is in the exact center. 6. Place the flesh hoop on the top of the head so that at least two inches of the head project beyond this hoop. Slightly more than this amount may be needed depending on the thickness of the flesh hoop used. 7. Use a standard tucking t001 or the back end of a rounded spoon handle. Fold over a small portion of the head

over the flesh hoop and with the tucking t001 force it under the flesh hoop. It is best to tuck opposite sides by first dividing the hoop into four equa1 parts and then continue with opposite sides until the entire head has been tucked under the hoop. 8. Allow the head to dry in a dry cool place entirely free of heat for about one hour. Before placing the head

on the kettle rub the rim of the kettle with a piece of paraffin or wax.

9. Place the head ori the kettle and attach counter hoop and screws. Pull the head down with the screws so that about one quarter to one half inch of collar is obtained.

io. Allow to dry in a cool place away from heat for about thirty six hours. More or less time may be required depending on drying conditions. Note: The Ilead may also be allowed to dry cornpletely on the flesh hoop before being placed on the kettle. If this method is used the head should be moistened on both sides before being placed on the kettle.

Range Of T h e T y m p a n i The complete range of the modern Tympani is from low Db to high A.

The Tympani sound as written. They are not transposing instruments.

T h e most popular size drums in use are of 25" and 28" in diameter. 8

\.

-,I''

T h e large 28" drum has a range from low F to C.

._.... Cm

and the smaller 25" drurn has a riinge from

O

It is possible and sometimes practical to go above or below the range given for these size drums. Thc large drurn

l --

(28") can produce the low E and the high D.

Similarly the small ( 2 5 " ) drum can produce the low Ab and the higli G.

These notes arc not recommended for the giveri sizes aiid should be used only whcn their use oli thcsc sizes is necessary.

A drum of 30" or 32" will give good quality from low D to the A above. -0

A drum of 23" in diameter will give good quality from the high D to the A above

It should be remembered that the right size drums should be used whenever possible

i11

order to give a good

quality of sound for each desired note.

Severa1 of the modcrn composers have used notes for thc tympani which are beyoncl the I-ange grvcn. Jar1aci.k used ihe high B ~lai*and

tlie high I3 ~atural*.- -- Thc celebrared coiiductor, Stoko\vrki, i r i liis orc1iestr;ii trailscriptions of Bach, used tlie low C E . 'Tliese notes do not often occur as is eviileiit. 111 ordcr to prorluce rlieiii,

--

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specially built tyrnpaiiis Iiave to hc useci. 111 tlie case of the liigli H N a t u r a l e , a 21 iiiili tymjxtni WOLLIJ ii;~ve to be employed to give good qilality for this note. In the case of the low C N a t ~ i r ~ ai l tyrrilxi~iiof 3 5 i~icliesto 36 inches in diamctcr would Iiave to bc eiiiploycd to give good quality.

It should bc ernphasized that the employrnent of these notes are most uncoinmvii, aiid it is oiily \virli our great symphonic orchestras that these instruments art: available.

T y m p a n i Sticks

NO.

N A M I i 0 1 : ST1

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FIVE DRUM STUDY For most practical cases, the use of Four Mechanical Tympani will be sufhcient to solve the most technical problems in the modern repertoire. There are cases, however, where the player will find it necessary to employ Five Tympani. T h e exercise given below will serve to illustrate the use of the Fifth Drum. T h e player should be careful to arrange his drums so that each drum is within convenient striking range.

Exescise for five drums

Slowly Low E, A, C#, E , F#

* SECTION FOUR; Repertoire for Tympani Symphony No. 101 by FRANZ JOSEPH HAYDN

in D. A.

*Por foreign names of keys refer to page 9.

%

FINALE.

Trio. 92

--

Symphony No. 5 by LUDWIG VAN BEETHOVEN, op. 67 Tyrnpani in

C 81G

Allegro con brio.(d = 10s)

Fag.Vc1.

fl Andante con moto. (h= 92)

Holz.

38

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poco a poco cr81c.

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1

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Molto nierio ninsso.

Finlandia by JEAN SIBELIUS, op. 2 6 No. 7 Andante sostenuto

in A .

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poco

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Funeral Music 1st & 2nd Tympani part Condensed by SAIJL GOODMAN

in

G. B . c # . E ~ .

Sehr Langsam

va. Basso

A

----------- ---------------,

Feierlich

p cresc.

$$.

dim.

Symphonie Fantastique by HECTOR BERLIOZ, op. 14

FOUR PLAYERS

PPP

p=- PP

PPP

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Renewal copyright assigned 1945 to G. Schirmer, Inc. Used by permission

P

o h . 10 \o10

L'Oiseau de Feu ( " Danse Infernale du Roi Katschei," "Berceuse" and "Finale" ) by IGOR STRAWINSKY

Allegro agitato J '168 Avec des barruettes en bois

PP subito

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Berceuse and Finale Lento

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in uno 3

Baguettes ordin.

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Concerto Por Violin And Orchestra 4 Tympani

I

Copyright 1939 by Associated Music Publishers, Inc. Used by permission

by PAUL I-IINDEMITH

A Stopwatch And An Ordnance Map by SAMUEL BARBER, op. 15 Tempo di Marcia

J = 92

mp

dim.

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P

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poco f

molto altaraando

Copyright 1942 by G. Schirmer, Inc. Used by permission

I

CYCSC.

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William Billing's Overture by WILLIAM H. SCHUMAN

-

TACET

to

Used by perrnission of the copyright owner C. Schirmer, Inc.

Fugue in C Minor by JOHANN SEBASTIAN BACH Arr. by DIMITRI MITROPOULOS

Uscd by permission of Dirr itri Mitropoulos

Symphony No. 3 by WILLIAM H.SCHUMAN Passacaglia

mPesante

i'occata

Pp sotto voce

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Copyright 1942 by G. Schirmer, Inc. Used by permission

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American Salute Bd.red on "When Johnny Comes Marching Home"

by MORTON GOULD Briskly - with Verve

J- =

126

6 A

8

B

9

C 9

D

6

E

Faster - with forward rnovement

Copyright 1943 by Mills Music, Inc.

1

Solo

>

2-

Theme And Variations by SAUL GOODMAN Moderato

Var. I. - Vigoroso

Var. 11.

Var. 111. - Largo

Var. IV. - Waltz

attacca

Copyright 1748 by Mills Music, Inc.

Timpiana by SAUL GOODMAN In Swing time

Solo

Copyright 1948 by Mills Music, Inc.

3