I. Sata... ee, 3 Il. Moto Perpetuo.............. 6 I. Adagio .. 2.2.00... ee 8 IV. Recitative ..... 0... 10 V. Improvisation...............: 13 VI Canto... 2... eee 16 VIL Canaries. ...... 2.20. 18Elliott Carter EIGHT PIECES for Four Timpani (one player) ASSOCIATED MUSIC PUBLISHERS, Inc.Performance Notes 1. Public performance: The printing order of these eight pieces was chosen largely to facilitate page turns, hence this order is not meant to suggest the order of performance. The group of ight is a collection of pieces from which not more than four are ever to be played as a suite in public, The order of these should be chosen to produce the maximum of variety, possibly according to the following suggestions: (a) If pedal timpani are available, IIT and/or VI may be included. (b) IV, V, VIL and VIII can be used as beginning or ending pieces, while I, II, III and VI can be performed between them. (c) When played in sequence, it is important that not more than one pitch be carried over from one piece to the next — hence some may be transposed. 2. Timpani: Although all eight pieces can be performed on four standardized drums — 30", 28”, 25” and 23” — other sized drums can be used to favor the effect of certain pieces. Although pedal timpani are required for III and VI, their use is not essential for the other pieces, How- ever, pedal timpani can be useful for quick tuning changes between pieces for public per- formance. 3. Sticks: Sticks for I, IIT, IV, V and VIT should be chosen to bring out the character of each piece. In VIII, medium-hard sticks are suggested; in VI, wooden snare drum sticks, In II, special rattan sticks with cloth (corduroy)-covered tips produce the best effect (see Example 1). IV uses a soft bass drum stick for its final note, I and VITT call for the reversing of the timpani sticks to strike with the wooden handles or butts. The striking with the wood is indicated BUTT] , and the usual way of striking is indicated [HEAD 4. Stick strokes: Unless otherwise specified, the usual type of stroke is to be used, This “normal stroke” is indicated by the sign [NS] when used to cancel the “dead stroke” [DS] —as in II, IV, and at the end of I. A “dead stroke” is one in which the head of the stick is held down on the drum after striking to dampen all resonance at once. The appearance of the small sign , found in all of the pieces except VI, indicates hand damping. In VI, the sgn f. means on the rim (not on the drum head), and the sign _@ means rim shot. 5. Striking positions on the drum head: To produce a wide variety of different sound qualities, various striking positions are suggested. They are notated as follows: @—_—___———_ Normal striking position on head ©————_ Striking at center of head @—,_ Striking on head very near the rim (see Example 2) ®@-- © Change gradually, from normal position to center of head Each of these positions should produce a distinctly different sound. Where nothing is sug- gested, the choice of striking positions is left to the discretion of the player. 6. Special effects: Il: In the use of the cloth-covered rattan sticks, two types of striking are indicated (see Example 1): [TP] Striking with the tip [Hid] Striking with the headIi: Articulation — The various degrees of accentuation in II should be clearly audible: (a) slight accents at the beginning of cach measure; (b) lighter accents at the beginning of each beamed group within the measure; (c) still lighter accents at the beginning of inner beams of sixteenth notes. ‘The sign / indicates an accent as at the beginning of a measure. The sign u weakens the above indications. III: Harmonics sounding an octave above the tuned pitch of the drum may be produced by pressing one or two fingers on the head of the drum half-way between the rim and center, and striking near the rim. The harmonic is notated © . III: Sympathetic resonance (called for on page 8, line 3, and page 9, line 1) — The pitch played on the drum notated on the large staff is meant to produce a sympathetic resonance in the drum notated on the small staff below. If this does not occur effectively, with a vibration loud enough to make the small-note glissandi audible, then the drums indicated in small notes should be struck softly at the same time or immediately after the other drums, ‘VI: The ‘sneak entrances’ should be soft enough to be covered up by the ring of the previous loud notes. Example 1 Cloth-covered Rattan Stick [TP] eg single layer of cloth [Ha] (head) over tip two or three layers of cloth on sides Example 2 Striking Positions on Drum Head As close as possible to rim, still sounding pitch Normal striking position Center of drum headEIGHT PIECES for Four Timpani (one player) to Al Howard I. Saéta Elliott Carter =o) k= Bias tempo) ® ad lid. (cee) fe? nf f—P PP ————————————— evenly and resonantly ad © 4.=50 ® ad lib, (accel,) molto rit. nf a te COS St MM = - = Cc ()— Wa — o- emphasise A and D more and more mf t, L£ = (N= — py >>> e— ad didec0 > = = Fra. sn f- = © Copyright 1968 by Associated Musie Publishers, Inc., New York Am-6820 AIT Rights Reserved Printed in U.S.A.Saini Ww fa __fs_ fe Sy fa fs mp, C7] oe * Sce Performance Note # regarding damping notation. ————— AMP-6820Pp emphasize A slightly a Peo, ed (nN), — @-= | (x) —_[__ 5 (c)= a nfl. St. i @—. —d dd-60— ot ()” ——— d=60 (Dg feel rit (N)ad Lib, (accel) * a4 more, > pp’ - SS 1 AMP-6820 1950/19666 to Paul Price II. Moto Perpetuo* Elliott Carter da120 (D3 throughout) a @ 1®)— r®— ©— [atten Shek | == 7 + = wefan, Prius and ‘and very distinctly) Hal @Q— ® "I @——--@-©-8 cresc. poco a poco —= [Ds] INS} Ha y¥—© ® ao 1 «See Performance Note f6 regarding accents and sticks, AMP-6820, © Copyright 1968 by Associated Music Publishers, Inc., New YorkSlee? cheer leet cerlererer crepes so ect eetseee = mp == mf? Be: su ina) ® Go ta 622 —— | (oT Ss) psi ps} [ps] ‘* Withthe stick of one hand, strike and hold against drum head; the other stick plays the repeated notes. AMB-6820 } oF ate} 1950/1966to Jan Williams Ill. Adagio Elliott Carter 200.36, Sy 36,20 freely / i Ze] BES: z z nai Fe ber === + @ aa ae b, tr a PPO gg st ———"p ae x an 8 Faia aah tip Seah ae = —S— j a8 o @ o> oes ery yO Sf (ring of drum + If this piece is performed after another of the series, itisonly necessary to tune Drum 3. Drums1,2and4 may start on any note and slide into the first notes not in parentheses. ‘*# The drums played before the harmonic and glissando note should be loud enough to form a ringing background without covering that note, (See Performance Note #6 regarding the production of harmonics.) AMP-6820 © Copyright 1968 by Associated Murie Publishers, Inc., New York-# of, ag Bape MP be ba OD ghee ete tee ee ee we - ist —_ ff press forward L AME-6820to Morris Lang IV. Recitative Elliott Carter Adagio drammatico (J=49) ® vw Sop 8 ‘07 cFese. aaaaSeSeee=—_— bo sn eS SSS SS =, 25S gf t=” —== AMP-6820 © Copyright 1960, 1968 by Associated Music Publishers, Inc., New YorkIf Pp rt mf (espr) 3 Se > ‘accenti ben marcati AMP.6820[) =) (d263, geen — al i 3 = If t “pinon troppo seco) = ff mare. (Ds] @ fi OY; PP 2 i soft bass drum stick] AMP-6820 1950/1966to Paul Price B V. Improvisation Elliott Carter ® Allegro (d=126) > © “erence a O- ot) ? eS — = See = =o — == Ed = eee nf — St + rDs}— zo az = ae P pia (s} — ras| a)! r©O—— =f ———— St (— = ®—— —d = J=168—- | (d=d=84) uf er mare. >in) (© s 8 5 d= d=84~ ® P mf + Hdd) (N)—_- (morendo) nf Wes adead=60-- 7 p > > Frese. ® ©——_—— _ ®—, w) SIS > > > mf? AMP.6820 © Copyright 1960, 1968 by Associated Music Publishers, Inc., New York@ 1 @—— te Tene Es _— F §} So ffir) mp ae ded = ~dsed 38+ > > eresc. poco a poco - = ® : Wp, ®— a = Ja d--(d-n26) t = ss Zo AMP-6820Damp with hand held on drum head P = WG PL 8 PP (PP) = 2P ima send r®- 1 @ ® 1r@> fr tr. tr. a eS — = : aaa me => xx = = a= eee pe of > f=— I Srnartita =F 10c0 rit. gy 3 U 3 iL * Let eachtone fade out without striking again. ‘AMP-6820 1950/1966to Jan Williams VI. Canto Elliott Carter kes geo aw a fr. (rim shot) 3 $ fof —— pp (quasi cant, espr.) > a —_— — gael go Ff s > “PP=P (sneak entrance’ see Performance Note #6) 7 a [4 tr nf 5 P= z Cin —=—— (eect nf ——p = Pp —= » — 7 ig tr aN OF gry = fp —— PP —=?p rp f' etal] | AMP-6820 © Copyright 1968 by Associated Music Publishers, Inc., New Yorkné a fl a — nf Pp f= = (nthe) nl en P—— nf —P ——= of — nf? St > (Te 8 a he a a Ow Os Sf =— 9? ———— pp SF bouncing stick gow S. to silence te if ee YT f * sitele ~ fnf 1966 ‘bouncing stick AME-682018 to Raymond DesRoches VII. Canaries Elliott Carter (>) oS SF naff nae nem o—o— ddfewo 1 ® 0-— (dd) (d=270) 1 = S = > > > =) tf menof = PSF pil marc. = => = diad-=90— 0 PP " e) ; a= E Su P taco eS = eresee SET Sf mare, AMP-6820 © Copyright 1968 by Associated Music Publishers, Inc., New York(ce) > o> = ded TF ple ded) = re ~Jid= Jdd— a (J=144,d=72) dada) ©smre a @ sempre) erm ES > sn, + rr P -P—_ fy aco a poco crese. oib|O- (=108) - spaeed ei 3 100g (d= 162) = (== sempre (LH. only) = (both hands) (c) > > 1 > i = ‘AMP-682020 (da162, d= 81) ® 08 ©-~ oe o— 08 O— it~F =f Ff = Ge? a t (cantando) or ‘marcato == piimare (c Tae ~® 1 r®- =®&- 7 =< eee = te S- a yp AMP- 6820 1950/1966to Saul Goodman 2 VIII. March d=105 fmedium-hard sticks] (HEAD, (uTT] —= > (1 Hef sempre) taeaD] — 5 5.4 mf * (BuTT] (HEAD] turn S — = * ( ads) page to BUTTS 1 roll: 2 he [change to (HEAD) \ ee YT = = Er = = —t Fe : =F Tet = = S = [surt] ? i 7 Foam to HEAD] t= Both hands Both hands both SOTTS| change to HEADS| [change to ; Peewee == > = R.H.-Change to HEAD] AMP-6820 © Copyright 1968 by Associated Music Publishers, Inc., New York2 ee [RH.-Change| BUTT Gazap] a [BuTT] 5 5 P tot ft GF SV Both hands lchange to HEADS| v [L-H; Change to BUTT ” pith p crm Fee F TyY¥——— ys FF [HEAD] (dLise, d=48) (J=48) ee pat fort] hy" — a (d=120) addins purrs! [weap] (d2d) {HEADS} Gof ee porn’ b =—S (euTtsh 1 {HEADS} svi ay = nena ‘AMP-6820[HEAD] borT]* HEAD] 5 (guTT] (muted) fuavly RB Male d . burr? r ° r ° h . — 7 ie (muted) (Both hands, BUTTS drums muted. AMP-6820 1950/1966