10 lntermediate Timpani Solos

by John H. Beck
Contents
Title

Grade

LSinglt

Page

.....3

....3

Tone quality is very impoftant when playing timpani. The maltets must be lifted from the head ratherthan pounded into the head. The
player should think about singing the notes as they are played. The type of rhythmic pattern in this solo is also quite typical of timpani
pafts. The notes required are A-D and can be played on the middte two drums of a sef of four.

2.Mufflelt...

.3...

........4

A timpani rings when being struck and must be cantrolled with a technique called "muffting". The muffting technique is defined as stopping
the ring with either the opposite hand or the same hand. AII notes in this solo are to be ptayed with their written duration, the same as a
wind player would play them. The notes required are A-D and can be ptayed on the middle two clrums of a set of four.

3.Roll lt ...

.........3

....5

A roll on a timpani is produced by a rapid alternation between hands, called a "single stroke rott". Most timpanimusic uses the interual of
a foutth wth the tonic note falling on the right hand. This so/o uses the intervat of a fifth which has the tonic note fatting on the teft hand.
Many times when the tonic note is played it is not on beat one, therefore count carefully and roll smoothly. The notesiequired are G-D
and can be played on the middle two drums of a set of four. Maltet suggestion: general mallet or soft mallet.

4.Crosslt

...3+

....6

Cross sflcklng is the technique used in timpani playing to articulate nofes. Srnce the timpani head is large, doubte sticking is not always
clear when played, therefore an alternated sticking pattern works best. One hand crosses over the other in an alternatecj styte. The cioss
sticking is marked with an "X" above the music whenever it occurs. Keep the waltz feeting throughout. The notes required are Bb-Eb and
can be played on the middle two drums of a set of four.

5.Accentlt ...

.....3+

....g

Accents are an impoftant paft of playing music. Because the timpani heads are large and ring a lot, accents on timpani are sometimes
challenging lt is impoant to play the unaccented notes softer than the accented notes. Ihis solo provides material for improving accented
playing n a march-like setting The notes required are B-E and can be ptayed on the middte two drums of a sef of four.
Mattet siggestion:
general mallet or hard mallet.

G.Doublelt

.........4

.,.10

Double stops (playing two notes together) are an important part of timpani playing. untike double notes on snare drum (flam), doubte
notes on timpani must be played at the same time - the same as ptaying them on a piano. /f ls suggeste d to frst ptay thie solo on the piano
to get the sound in your ear. Think of a march when ptaying fhrs so/o. The notes required are a-C-b and can be'pla'yed on
the large drum
and middle drums of a set of four.

7. Move lt

...12

Rapid playing can be challenging lhrs so/o provides material that witt prepare the timpanist for this kind of playing.
It is written in an
idiomatic style allowing for the hands to flow naturally. The notes required are Bb-Eb-F and can be played on ihe-middte
drums and small
Crum of a set of four. Mallet suggestion: genera! or hard mailet.

S.Slowlt
slow playing is often a challenge'
must keep a steady beat and play
are F-B\-C and can be played on

9.Marchlt

.....4
mpo
in m

13
rhythmic pattern gets more complicated. This solo
otes will hetp to keep it steady. he notes required

two

....4

Ihis so/o reflects the abitity of four timpani

...14

to ptay a metody and has a strong march-like feel. Atways think about the sound quatity of the
notes when playing and follow the dynamics carefully. The notes required are F-Bb-Eb-F and witt
be ptayed on all drums of a set of four.
M allet s u gge sti on : gene ral m at t et.

l0.Resolvelt

.......4

16
rhrs so/o is different in several ways. lt stafs with a cadenza section, has a
middte
section,
pedating
and
employs a
iazz-like
consideration
at the end' The notes used form a dominant seventh chord. This chord must resolve itsetf
or the soto wilt not sound finished. Therefore, the
last note petformed is the resolution of the dominant seventh chord. Tune it carefulty
so fhe so/o sounds finished. The notes are G-B-D-F
and will be played on all drums of a set of four.
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