Introduction ‘Two-Drum ETUDES Etude 1 Etude 2 Etude 3 Etude 4 Etude § Etude 6 Etude 7 Etude 8 Etude 9 Etude 10 Etude 14 Etude 12 - Gliss-a-rondo Etude 18 Etude 14 Etude 15 Four-Drum ETUDES Etude 16 Etude 17 Etude 18 Etude 19 - Tympanic Metamorphoses Etude 20 Etude 21 Etude 22 - Grace (notes) Under Pressure Etude 23 - Beatin’ & Bangin’ Etude 24 - Bartok-o-rama Etude 25 - Extend Yourself Etude 26 - Rolling Down the Highway Etude 27 - Double Stop Trouble Etude 28 - A Flat Etude Etude 29 - High Performance Muffier Etude 30 - Déja Vu All Over Again Etude 31 - Rock of the 80's Etude 32 SOLOS for Timpani ‘The Black Hammock The Back Forty Fanfare for Some New Drums Bolt! Los Cinco de Clubs The Attack of the Freezing Fog About the Author Contents 10 4 12 13 14 15 16 7 18 20 24 22 26 27 28 30 3 32 34 35 36 37 38 40 42 44 46 50 62 54 56 60 64 68Prpat rome KETTLE Intropuction Thank you for purchasing this collection of etudes and solos. These pieces were written over the years for my students to present different technical and musical challenges while keeping it fun. It is my sincere hope that the content of these etudes will help prepare you for the challenges encountered in band and symphonic literature. The book is divided into three sections. Section 1 — Two Drum Etudes Section 2 — Four Drum Etudes Section 3 — Solos The pieces in each saction progress from easy to advanced. The material in this book is intended as a supplement and not a substitute for a comprehensive method book. Some excellent method books that | recommend are: Modern Method for Timpani - Saul Goodman Timpani Method — Friese/Lepak Fundamental Method for Timpani — Mitchell Peters Exercises, Etudes and Solos for Timpani - Raynor Carroll Please consider the following items as you work through the book. ‘Tempo ~ Exact metronome markings are included for each piece. These markings are intended only as guides and are flexible. Altering the tempo a couple of clicks up or down is permissible, and you are encouraged to experiment as you create your own interpretation. Tunings - In almost all cases | have indicated the tuning changes in the music. Up arrows indicate a pitch change going up, and down arrows indicate a pitch change going down. If there is no indication, the tuning changes are left for you to determine what works best. Key Signatures - The etudes and solos are similar to parts encountered in band and orchestral music in their use of key signatures. Pleese pay close attention to these at all times to ensure the tuning is correct. ings ~ For the most part stickings are not included in the pieces. This was done intentionally to allow for individual interpretation. Different styles of playing may lean toward either shifting, crossing, or double strokes. In places where stickings are indicated, feel free to do whatever sounds and feels the best for you. Mallet selection — | have refrained from putting in specific mallet requests. In interpretating the music, choose the mallets that best suit your concept of sound. Try playing sections using different types of malts: hard, medium, soft, etc. In band end ‘symphonic literature one type of mallet may have to work for many different styles.Kew oy Itis a. good practice to try out many different mallets on an etude or section to become proficient performing the same matenal with different mallet types. Timpani Sizes - Timpani sizes vary. However, a standard set of four usually consist of the following: 23"- 26"- 29"- 32". if you have a fifth drum, itis usually 420" drum and is referred to as a “piccolo” timpani, In the two drum etudes section, | recommend which pair of drums to use, such as the bottom two drums (29” 8 321, middle two crums (26" & 29, or the upper two drums (23" & 26"), Timpani ranges, accoraing to drum size (sounds as written) Notes on Practicing Use a metronome while you practice, Most music teachers aclise thelr students to do this, but it bears repeating, Many times in a lesson | will ask a student, "Did you practice this with a metronome?" The answer is "No." | then usually ask, “Why not?” And the answer ranges from “My battery died" to “| forgot!" Please use it nov! It will help you forever. Practice in front of a mirror. This is always a good idea on whatever percussion instrument you are playing but especially the timpani. After you have been working on a section for a while, look away from the music and just watch yourself in the mirror. Watch your hand position, stroke, lft, side-to-side movement, etc. Due to the physical nature of performing on the instrument, practicing in tront of a mirror is a good way to check your technique during performance, Record yourself when you practice. This is enother must for ski! mastery. This will alow you to hear things not obyious to you while you are playing, While working on an etude, your focus may be such that simple things like keeping tine may go unnoticed. This is also good for when you are piaying from memary to catch rhythms or notes that you “leamed” incorrectly. Videotaping yourself is also a great tool to use when practicing. it combines both an audio and visual critique. ‘The only drawback is sometimes the audio trom a video camera can be distorted and not as clear as a digital audio recorder.