£276 BIBLIOTECA a MODERN METHOD FOR TYMPANI by SAUL GOODMAN Solo ‘Tympanist, New York Philharmonic y Orchestra, Instructor of Tympani and Percusion, Juilliard School of Nac New Yor enigh 1940 by Ms Musi, ne, New York, International Copyright’ Secured Mado'in USA. All Rights ReservedCONTENTS Introduction a a 3 ‘The History of the Kettledrams..__ a ‘Various Types of Tympani (Foreign Types)... 4 ‘Various Types of Tympani (American Types) 5 Valuation of Notes and Rests... 6 ‘Terms, Abbreviations and Signs. ceee a SECTION ONE — Fundamentals... ° Tuning Designations en zt Foreign Terms Used To Indicate Notes To Which the ‘Tympani are ‘To Be Tuned... 9 Accidentals 7 Ho) Cate and Maintenance of the Tympani. 10 “Type of Tympani Stick To Be Used eee 10 " Sticks For Specialized Use... ‘ Method of Tucking the Tympani Head... Range of the Tympani... ‘Tympani Sticks BB ‘Training the Bar in Preparation For Tuning the Tympani 14 ‘Tuning the Tympani... 16 ‘Tuning With the Pedal Tympani. — 17 ‘Method of Changing the Pitch of the Drums From Inter- vals Already Established ‘Method of Changing the Pitch of the Drums From the Fixed Note A 18 Asrangement of the Tympani 20 Holding the Sticks... Hai Striking the Tympani. eee 2 ‘The Proper Method of Execution... 2 Moving From one Dram to Another. nnns 24 ‘The Roll ... ‘Muffling the Tympani The Loud Roll... ‘The Forte Piano (fp) Roll: Dynamic Conteol Cross Hammering = am 36 Staccato Technique na) ‘The Grace Note or Appogiatara Counting Rests nnn “f SECTION TWO — Exercises For the Development of Technique on Two Drtims anne 45 a2 SECTION THREE — Thrce and Four Drum Tech- nique — ‘Three Drum Exercises. Four Drum Exercises... Technique with the Pedal Tympani _. Five Drum Study... SECTION FOUR —Repertoite for Tympani. 73 Symphony No. 101 (Haydn)... Symphony No. 5 (Beethoven) Symphony No. 7 (Beethoven) Symphony No. 9 (Beethoven) Symphony No. 4 (Mendelssohn-Bartholdy) = Symphony No. 1 (Brahms)... Symphony No. 4 (Brahms). Symphony No, 4 (Tschaikowsky) Symphony No. 5 (Tschaikowsky) Finlandia (Sibelius) Funeral Music (from “Die Gotterdammerung") (Wagnet) a. Symphonie Fantastique (Berlioz) Till Bulenspiegels Lustige Streiche (R. Strauss)... Schelomo (Bloch) ... LOiseau de Feu (Strawinsky), Concerto for Violin and Orchestra (Hindermith) A Stopwatch and an Ordnance Man (Barber)... William Billings Overture (William Schuman). Fugue in C Minor (Bach-Mitropoulos). Symphony No. 3 (William Schuman)... American Salute (Gould)... ‘Theme and Variations (Goodman). ‘Timpiana (Goodman) ered 128 12 ee D esesseeee Ty any“3 nesoyctiPBes OF Tympani van “The purpose of this book is to present in a progressive sequen id development of the modern Tympanist. Pe ceaeeete FOREIGN TYPES to the many compl £ effect, as a resull onductor. It is appa the demands made ont 2 good musician. s unique. In fact, he is J wer which the proficient co PF fent in the orchestra bas caused such coat “The method of playing n0\ ‘are as many as these ate players. Certain sim he tympani, The methods used ing actually the method used is as ing Macient times wl religious ceremonies b 3s of this period The word tympenee’ aaa rots Gees hich ‘means to strike, e J binds, the violent striking! odie (RE ge the toning of th fand ninth symphonies.AMERICAN TYPES 3 Portable Machine Tympeni Operated by ‘Turning ‘Two Screws; Invention of SAUL GOODMAN ‘WEL Pedal 7) ‘Leedy Pedal Tympani Mig. by Leedy Deum Co, leh, Tod Mfg, by WEL Drom Co, Chic Slingerland Pedal Tympani wig & Ludwig Pedal Tympani 1 by Bani © aig, Mig. by lingesland Dram Co, Chicago, I Mfg, by Ludwig & Ludwig, Chicago, 1.Valuation Of Notes And Rests Here is given a diagram showing the proper way of dividing 1 whole note. The whole note or 4 quarters 1 Ones peeesees'= ‘This is how Beh, 16th, 32nd and 64th notes appear when written ae (aot in group form., do do db ‘3 . ‘ach notes: 6th notes 32nd notes 64th notes RESTS 4. Be ta 4B tae Yeu Mea ot whole or halfritten quals A dot placed after a note or rest increases its value by one-half Writtea Equals These notes are equivalent | to these rests Written Equals ‘Two dots after a note or rest increases its value by three-fourths Written Equals “Artificial groups of notes which are played in other than their original form. 3. ‘The Triplet J Sd played in the value of 6 ‘The Sextuplet id J dd played in the value of 5 Group of five STITT) payed in the value of > Group of seven gaa edie Jd. played in the value of faraie: ad 4 Group of four J 74 J played in the value of wd a2 a2 2 3 Group of two wd played in the valueof of dd —jo ¥ Group of three quarters fd d-—éplayed in the value of Group of three halves J ¢ 4 _ Played in the value of 3 WW Td oe we é 4 notes. notes. notes. notes. notes. notes. notes. notes.8 ‘Terms, rBRMS Aecerando (Atelerit-do) oul fost ‘Adagio (08) "eq sory ina tbiten (42-0) “ety ‘Allrgondo (a-lirgn-40) “Allegeetto (ablegret-t0) ‘Allegso. (ele g'0) ‘Andante (an-dav-ta) ‘Andaatino (n-din-ten0) Animate Gioe-mt0) ‘Atempo (8 em-p0) Bis (bis) = Chsomatic (Kro-rarie) Coda (Rods) Gon brio (kon bré-0) Con moto (kon-m7-0) Con sprito (kon speteto) Crescendo (Kre-sher-20) Da Capo (di APO) Dal segao (dl 4-790) Decrescendo (da-kre-shen-20) Diminuende (demenven-do) Broadening ovt Moderately fast Quid, lively ‘Moderately stow “A itil faster thait andante With animation “At the original rte of speed F Repeat measure Proceeding by half tones ‘Auber of meesores ‘used to close 2 composition With fife and fre With motion; not dragging with spit Gradually louder ‘Retuin to the beginning From the siga Gradual softer Gradually softer Fine (fe-m) The end Forte (forte) Load Fortssimo (fOrsisimo) Very fond Forsando ({6rsin-do) “Accented; with sudden emphasis Giocoso (jeo-#o-70) Playfolly Largo (la-g0) Slowly Legato (le-gt0) Teggeramente (led-jebriimer-a) Leggero (led-jer0) TLegpiere (ed-jeate) Lento (lento) “Listes tempo (lister-s0 4em-P0) Macstoso (iiv-est0-90) ‘Ma non troppo (mi pon Hro-PO) Marcato. (marci-to) Marcia (marche) Meno mosio (mano mors0). Mezzo piso (mei-2s plen0) Meso forte (imeda0 fort) Modersto’ (inod-e-#*0) Molto (molto) Morendo-(s00-ter-40) Pianissimo (penis) iano (pi#-20) Poco a poco (po-ko & po-ko). Piesto (presto) Prestissimo (Presrtissi-m0) Rallentando (cél-en-td#-d0) na smooth, sustained manner asl, light Easily, lightly Easily, lightly Siowly “Tn te same time ‘Majestic, with digaity ‘But nob too seve Marked, accented Ju march tempo and style Less movement, slower Moderately soft Moderstely Joud “Moderately Very, auch Dying away SExtsemely soft “Smooth, even, soft Lite by Hide Rapidly, very quick Rapidly as possible Gradually slowet Abbreviations And Signs Ritardando (se-tirdin-do) Retsrding, bol og Ritemuto (cete-no0-0) Simile (simile) Sostennio (Susten-o0te) Staccato (sti-Bitto) Yen, ‘Tempo (Jem-Po) Tense (t0-n00-10) Tui (t00-8) ‘Valse (vals) ‘Vivace (ve-itcha) Time; rte of &° Hold full value or «it All, ¢ ABBREVIATIONS ‘ : fo “a forissime V fff forefortissimo, Ext © fp owt piano, Suongly atacked and imedis nf vnezzo fore, The medivm between °C P vi PP planisimo, PEP = : pianopianissimo, TS mp smexzo piano, Medium between s0ft_"¢ sforzando, Very strong) 4 ‘An indication of 1 oe Ds pe SIGNS a Repeat signs st 2 mein is absence 00 ' Beginning of © &P a mata, pe, bls 50° Jo ie vate, Wate = escent; geal fo 2 To beens eat > [Accent oF » 2 diel 10 rs Coda sign; g0 a . 8 Segnos reper Maem Staccato; play tone: 9 manper and generally oneal vit Play one octave hish ‘Coma, stop slight! > ‘Sstein the fone Repeat the Dr Repeat the pret tiSECTION ONE e Tuning Designations The notes to which the tympani are to be tuned are designated in several ways i At the beginning of the piece to be played may be found the heading TYMPANI in C&F, A &D, ete or a small stafl placed at the beginning 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 1 they occur Foreign Terms Used To Indicate Notes To Which The Tympani Are To Be Tuned Naturals Italian French German a FA Fa Fa F G soe Sol Sol. G A la la A BOS Si Si H (Ha) cdo Do Ur Dp ke Re Re D 7 EB ML Mi Mi E host 7 i Accidentals In Italian or French the word Bemolle or Bentol means lat and the word Diesis or Diese means shasp. In German Fis means PA, Ges means Gi, As means Ab, Ha means B natusal, B means Bb, Cis means Cf, Des means Db and Es means EB, Note: With some of the seventeenth century composers, all tympani pasts were written ia C and G and their tuning designation given at the beginning of the patt to be played: ‘Tympani inD & A Example ‘When these parts are encountered the player stiould be careful to note the correct tuning of the drums given at the beginning of the part.10 Care And Maintenance Of The Tympani When Tympani aze not in use, they should be placed away from heat of any kind. Care should be taken « ~ ¢ telax the tension on the heads entirely or allow too'much tension on the head. If the drums are to be used under extremely damp conditions the heads should be left with @ very small amous of tension when not in use 1 the drums are to be used under extremely warm and dry conditions they are best left inthe following conditc swhen not in use: ‘The small drum tuned to Ey, | =I "The large drum tuned to Bk “This will help in mintaining the “Collar” which is importantin order to obtain the lower notes ‘When ‘Tympani are not in use the heads should be tuned carefully. This will help to insuse clear even intonst when they are to be played on again. has a reslt of extremely dry conditions the Tympani head should have los it's “collar,” the head should be moved fom the druim and moistened on both sides, care being taken that the old crease in the head is wel so. & rgees the head is replaced on the ketle, Wetting of the head on one side only should be avoided although th. + te done with the head on the kettle when sufficient time does not allow wetting both sides, ‘t should be noted that too much wetting of the head kills the life in the head and often results in maf false and toneless Proper tucking of the head will greatly assist in stabilizing it and the elimination of unneves moistening “All moving parts should be kept free and screws well oiled. Type Of Tympani Stick To Be Used “The handles of Tympani sticks are best made from straight grained hickory or sock maple, An elastic type has is not recommended, A cigid handle helps produce the best tone and 2 clear concise beat. “The handle itself may be from thirteen to fifteen inches long, depending on the preference ofthe player. “The recommended type of balls forthe stick are the "Cart Wheel” and the “Ball” types. ‘The Cart Wheel type is constructed as follows: “The hard inner core should be of hard felt about one and one quarter inches in diameter and one inch in hack “Around this inner core is sewn a thin layer of medium felt the same width as the core. Atound this layer is se Jayer of soft damper felt. This should produce a ball approximately two inches in diameter. Construction of the “Ball” type stick is as follows: “The innet core should be of wood or hard felt about one inch in diameter and sbout three quarters of it thickness. Over this core is placed a piece of medium hard felt sewn in the form of 2 bag and polled tightly vv ore. On top of this is placed the soft damper felt sewn in the form of « bag and pulled tightly over the ren cere This boil when fintshed should be about two inches in diameter and one and three quarters to two inches i I¢ Je should be noted that the larger the ball the greater amount of tone will be produced. However, balls that @ large will produce a stifled sound on the Tympani, A head under extreme dry conditions will need stick wit! @ ball to produce the proper amount of resonance, Conversely under damp conditions a smaller ball is recor» because this condition tends to make the head vibrate mote freely. ‘A hard stick should not be used when there is +t much vibration in the head: The best type of stick t & ‘general work 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 shythmical effects. This type of stick should be used with the utmost discretion and only whire 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 suficent, For very fast passages that are to be played very softly, stick with a very small ball is recommended, To fusther prevent the vibrations of the head from interfering with the clatity of the beat, placing a small piece of soft felt or a handkerchief on the head where it adjoins the sim, will help in making the beats clearer. Method Of Tucking The Tympani Head Before tucking the Tympani head it should be determined beforehand whenever possible under what conditions (dampness, deyness, 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 @ 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 flush eliminating all the slack. Under moderate conditions it is best at all times to allow a small amount of slack in order to compensate for slight changes of conditions in either dicection. 1. Soak the head in cool water (about 65 degrees 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 waim. Over soaking the head will cause it to Jose its finish and bring on the appearance of white spots (in a transparent head). 2. After the head has been soaked for the proper amount of time spread it out on a large table which has been covered with paper. With a soft cloth remove all surplus water, first on one side, then on the other. 3. Determine the beating side of tie 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. (IE 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. Make 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 Aesh hoop used. 7. Use a standard tucking tool or the back end of a sounded spoon handle. Fold over a small portion of the head ‘over the flesh hoop and with the tucking tool force it under the flesh hoop. It is best to tuck opposite sides by first divid- ing the hoop into four equal parts and then coatinue with opposite sides until the entire head bas 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 sub the rim of the kettle with a piece of paraffin or wax. 9. Place the head on 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. 10. Allow to dry in a cool place away from heat for about thisty six hours. More or less time may be cequired depending on drying conditions. Note: The head may also be allowed to dry completely 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,R Range Of The Tympani == “The complete range of the modern Tympani is from low Dp to high A. EE “The Tympani sound as written, They aze not transposing instraments, “The most popular size drums in use are of 25” and 28” in diameter. ‘The large 28” drum has a range fom low F to C. FS 0d the smaller 25” drum has a range BotoF. = seis posible and sometimes pretical to go above or below the range given for these sine drums The lat 2 (28”) can produce the low E and the high D. = Similarly the small (25”) drum can produce the low Ab and the high G. 3 “these notes are not recommended for the given sizes and should be used only when thelr use on the. necessary. | “Acdsum of 30” ot 32” will give good quality from low D to the A above, 3 7 ‘A dram of 25” in diameter will give good quality from the high D to the A above. | Ik should be remembered that the sight size drums should be used whenever possible in order to give i quality 6f sound for each desired note, Several of the modem composers have used notes for the tympani which are beyond the range give used the high B Flat ind the high B Natural: “The celebrated conductor, Stokowski, in his orchest scriptions of Bach, used the low CTE These nvies do not often occur as is evident, In order to pre_a: specially built tympanis have.to be ‘se, In the case of the high B Natural 2 21 inch tympani wou to be employed to give good quality for this note, nthe case of the low C Natural « tympéni of 354 i inches in diameter would have to be employed to give good quality. = It should be emphasized that the employment of these notes are most uncommon, and itis only wiv « available eT ET semmphanic orchestras that heseB Tympani Sticks NO. NAME OF STICK RECOMMENDED USE [1 Small Headed Sticks Staccato and precise rhythmical effects. 2. Wooden Sticks Specialized rhythmical effects 2s indicated by the ‘composer. U5. Cartwheel Type Sticks General use and tone. 4, Light Small Headed Sticks pire ppeeragennc 5. Flannel Headed Sticks Extremely soft staccato work, 6, Ball. Type Stick All around general use.“ Training The Ear In Preparation For Tuning The Tympani “The actual process of training the eat for tuning the Tympani depends largely oa the musical background the student. For those students who already play some musical instrument, it will be relatively simple to lear” t necessary fundamentals of tuning. For those students whose mosical background is limited the following m x will serve to develop the eas. ‘The main basis of tuning the Tympani is a thorough knowledge of intervals. The following are the mor i portant intervals with their number of steps and half steps which determines the interval. ‘The minor second = ‘hale step ‘The major second 1 fall step ‘The minor third 1% steps ‘The major third = 2 steps ‘The perfect fourth 244 steps ‘The augmented fourth or diminished fiftn 3 steps ‘The perfect fifth = 34 steps ‘The minor sixth 4 steps 5 ‘The major sixth Yh steps ‘The minor seventh or dim. seventh, 5 steps The major seventh 54 steps ‘The octave 6 steps ‘These intervals will serve as the most practical in tuning the ‘Tympani. it will be most helpful for the student if he will secure for himself an A-440 tuning fork or pitch pine sound this note to himself at odd moments. It is surprising how quickly this note can be sung from memor ‘cquiting of this asset will be most helpful in tuning the Tympani. TABLE I In table 1 it will be noted that there ate solid lines and dotted lines. When the solid line is crossed ig from one tone to another let us call ita fall step or whole tone, When the dotted line is crossed in going from tone to another Let us call ita half step or half tone. “Thus in going from A to B we cross one solid Line, In doing this we have progressed one step or one {1 above A. Looking at our formula we find that one full step equals a majot second, Therefore the interval bet ‘Aand B is a major second. Uf we go from A to A# (Sharp) we only progress one half step above A. Looking at the formula we fd one half step equals a minor Second, since we cross one dotted line. By using this method the stadent who is not familiac with intervals can tell at a glance, by using tab the formula, the actual name of the interval before determining. its’ sound, Having determined the’interval by’ name we can now proceed to determine it's actual sound. ‘The use of some musical instrument (preferably a Piano) is recommended in hearing the actual sound ©16 ; Tuning The Tympani “The most frequent intervals that occur in curing the ‘Tympani ate the pesfect fourth and the perfect fifth student should make a special point of recognizing these intervals. 1 you have learned your intervals well the actual casing of the drums should not be too difficult, Ik is best to earn to tune the drums with the sticks in one hand as shown in the photo below. “Atthis time do not attempt to tune the dcums by flipping with the fnger "This method is unsatisfactory & dent since when striking the drum with the sic after tuning with the finger the same pitch is not produced. rine hend Tympani sre used, learn to cura. the screws in pairs using the two screws nearest you, then pai and finally the fasthest pair. ‘Before you are ready to tune, fist sing the note you desire yourself, Tap the drum and decide fe “ghether the drum i t00 high or to low, After you have made your decision, proceed to make the necessary wither tightening of loosening the crews, whichever you have found newest} ‘Mter this adjustment is ma sine desited to yourself once again and compare it to the pitch of #he ‘drum. By repeating this process you” wrote desired. Do not attempt to sing at the same time that you #46 testing the drum to ascertain it's pitch. € NOTE TO YOURSELF FIRST, AND THEN TAP THE DRUM "AND CONCENTRATE ON THE P "TAINED. Jn tuning a given interval, fist obtain one note and then 96 the interval desired from the note thr Do not try to tune the notes desired by conceiving of them individually. Remember that what you are prit eet inf to obtain THE INTERVAL RELATIONSHIP BETWEEN ‘THE TWO TONES. For example if to tune the Tympani in A and D, | ‘Tune the A or D fist, whichever you choose, and thea sing a fourth above ot below whichever n¢ obtained fist. Hf one of the notes is tuned accurately and then the interval sung correctly, the tuning © interval should be correct15 ‘Take the minor second for example. From our formula we know that the minor second is one half step above or below a given note. ‘Thus looking at table T if we cross over from A to A# we ctoss the dotted Line or progress one half step. Go to the Piano, Orchestra bells, Xylophone (or even a well tuned pitch pipe can be used) and get the sound of this combination, Sing it to yourself sloud and then try to fix the interval firmly in your mind, Now try other com: binations of minor seconds using table I to locate them. Try doing the same thing using the formula for the major second. Proceed then to the minor thitd and then locate all the intervals given in the table of fotmulae. Get the sound of these intervals firmly fixed in your car. Do not try to learn too many intervals at one time. It is best to set a schedule for yourself of one or two intervals at a time and learn them thoroughly. In singing the intervals to yoursel€ it will be found helpful to use the syllable Ba. This forces the mouth open and produces a more accusate pitch, Since the ear is a very sensitive organ it is better to practice this type of ear training no longer than an hour at 4 time, When the ear becomes tired it is inaccurate in pitch. This is something that the student should avoid, since it is essential in tuning the drums to work for accuracy. ‘The student should get used to seeing the intervals and heating them in the Bass clef since this is the clef that is used for the Tympani. ‘The following ate the intervals as they look end sound: Minor seconds Major seconds o Minor thirds Major thirds =o Perfect fourths Augmented fourths Minor sevenths Perfect fifths ‘Minor sixths Major sixths ‘Major sevenths Octave Ie will be noted that the intervals given are those which actually exist and are possible within the range of the ‘Tympani, The student should be able to recognize these intervals in all other clefs and positions where they might occu, After mastering these fundamental intervals it should be relatively simple to locate any interval no matter where it might occur, It cannot be too strongly emphasized to learn these intervals most thoroughly. This knowledge will become the main basis for tuning the Tympani,7 tee the desired note is obtained on the hand screw drum, tap the head gently near each screw close to the rim the same accuracy of pitch at each screw. ‘This is known as evening up the head. | ‘ten in tuning the hand drom, sufcient time does not always exist to do this. Whenever possible this evening up ... should be done. Tuning With The Pedal Tympani _-uning with the pedal type Tympani makes for greater accuracy because jt creates an immediate equal fension on ead. The possibilities of rapid tuning are almost limitless with the pedal Tympani ‘although the pedal drom isthe idea! instrument to use, nevertheless a real understanding of the characteristics of head are best acquired by a thorough knowledge of the hand Tympani. actically all pedel Tympani operate on the same principle. By pushing the pedal forward or downward the tone viced, By releasing the pedal the tone is lowered (On American made instruments all the fine adjustments are made with the six or eight hand screws. With foreign ‘machine Tympani the fine adjustments are made with a master screw that adjusts the tension with one operation. Before beginning to tune on the pedal Tympani make sure that with the pedal released the lowest tone is as fol- On the large drum the noie should be the low F “The top range of this drum should then be at least the C above On the small drum the lowest tone with the pedal released should be the low B fiat. ‘The top note will then be the bigh F above. “When the range of the drums have been set, the following method is used for tuning with the pedal drums: 1. Sing the note desired to yourself. 2. Release the pedal, strike the drum lighily with the stick ‘and immediately slide up to the note you want by ‘shing the pedal forward, Ifthe fist attempt has not been successful, cepeat the operation In tating with the pedal drum, it is always best to go below the note you desire and tune up to it. ‘This will iiminate any tendency of the head to stick and will produce more accurate intonation.Method Of Changing The Pitch Of The Drun From Intervals Already Established ‘Method of Changing the pitch of the drums from intervals alceady esteblished. For example: If the drums ace already tuned in A and D E=S—] and its desired to tune them to F# and Of: = Referting to table 1 itis noted that the jump downward from A to Ff is one and one half steps. This eal minor third as given in the formula. We therefore sing down a minor third. In doing this the F¥ is obtained. NX joing from Fi to C# we count three and a half steps. This we kacw from the formula isa perfect fifth. By sing 9g a perfect fifth from F¥ we thus obtain G#, The drums ace now tuned in F¥# and Cf. “The same result may be obtained by singing up a major third above A. This will produce the C#, and by sing down a fifth from the Cf, the F# is obtained It is also possible to sing down a minor second from D to Gf, and then a fifth down to F¥. Any of these meth is correct, depending on the preference of the student as to which one he would like to use “The same method can be used in going from Ff and C# Op ToBandE. Boa From F# to B is two and one half steps or a perfect fourth. By singing up a fousth from Fé the B is obtained two and one half steps above B, therefore a fourth above. In this manner the interval B and E are obtain~*. By using this method the task of the student in moving from one set of intervals to another is simplified. Method Of Changing The Pitch Of The Drva From The Fixed Note A Tthas already been recommended that the student memorize the note A. When this note has been firmly est. lt in the mind, any interval or combination of intervals may be obtained from it, For example; If it is desised to tune the Tympani in C and F, sing the note A. = From A to Cis one and one half steps or a minor third.19 By singing a minor third above A the note C is obtained. The F above C is two and one half steps ot a perfect fourth. Therefore we arrive at the interval C and F. Similarly, if it is desited to tune G# and Gé, Cif is a major third above A. Having obtained the Cf by singing down a fourth we ertive at G#, Practice tuning the following intervals by using either method given. First, identify each interval, using the given foumulas. Second, write the name of the interval under each measuce ‘Then proceed to tune.ba Arrangement Of The Tympant “The ‘Tympani should be placed so ‘hat the small drum is on the right and the Jarge drum on the eft. The drums should be horizontal not tilted 1 The deums should be about eight inches below the players waist ! 2, ‘The player should be in a standing position 59 that the mid line of the body coincides with the spot whe one drum adjoins the other. 3, ‘The feet should be not too far apart oF too close together. The feet should be as in a normal standing pi { sion, The playet should bave the feeling of complete freedom of motion ‘4, The movement from one drum to another 15 from the waist. NOTE “Although itis possible to play the fympant in ¢ sitting position, playing the sestrument in this manner does not male for freedom of motion which is most important for proper execution, The playes should, at all times, avoid « sitting positon. It should be noted, howeves, that in playing the Pedal Tympani, itis e gentia, in order to execute the dificult changes of intonation, for the player { to rest his body against a stoolBefore beginning the preliminary exe in motion to execute the fundamental single stroke. a Right hand palm up, fingers extended. Stick laid across the first joint of the index finger, about 3 inches from the end of the stick, rol oo Rest the second and third fingers against the stick gently. ‘The fourth or little finger should not come into ‘contact with the stick at all, Holding The Sticks 2 sit is absolutely essential that the student understands and masters the correct method of holding the sticks. Only then will he be able to go on and master the principles of setting the hands ‘The author's entire technique is based upon this method of holding the sticks, The stadent must therefore make every effort to acquire as soon as he can the babit of holding the tympani sticks in this way, and in no other. First, study all the photos in this section carefully; then, as soon as you think you have « good general idea of what is wanted, try it out with a stick. Getting the position right from the very start will save you a Jot of trouble later ‘Turn the hand over; rest the stick head on the drum head. ‘Try the same with the left hand. Make certain thet you have every detail sight. ‘When both sticks are held in this fashion the general position of the body is as in photo. Notice the elbows projecting slightly from the sides of the body; and how the sticks form a "V" open at the end ‘The beating spot, ic., the place where the head is struck, should be not less than 2 inches nor moze than 4 inches from the rim of the drum,Striking The Tympani It is important to remember that the Tympani should be struck in the same place on the head each time. Ith is not done a variety of uneven sounds are produced. In order to help you hit the same spot each time, draw a sean circle with piece of chalk approximately at the beating spot, Place the sticks on the circumference of this circ and strike the drum at the same spot each time, ‘The motion used in striking the Tympani is that of wrist and fingers. No arm or elbow motion is used at this time In order to understand this properly, do the following: 1. Rest the stick on the drum head three inches from the rim, 2. Pinch the stick firmly between the thumb and first finger. 3. With the wrist-only, raise the stick upward. When this is done, the second and third finger which were ag_n. the stick, fall away from it. The thumb and index finger are the only ones in contact with the stick at this point. 4. With the wrist only, force the stick downward toward the drum, As this is done you will notice thac th second and third fingers come in contact with the stick again. Flip these fingers against the stick so that they will hel in getting the stick toward the drum head. 5. When the stick strikes the drum, draw it away quickly using the motion you used in step three. ‘This procedure should be practiced with alternate hands; right, left, right, left. The Proper Method Of Execution ‘The Tympani uses the single stroke and not the double stroke as in the snare drum. It is essential that the py ‘equalize the strokes in order to produce an even sound on the instrument. Make sure that you are striking the same spot all the time in going from one drum to another. ‘ Practice the following exercises first with the right Land alone, then with the left hand alone, and then ‘it both hands alternating, Exercise 42 sm - st st os es Ss os oN Exercise 2 Exercise 8 Exercise 42 Moving From One Drum To Another “The Technique in going from oae drum to-another is to anticipate the change of direction of the hands, ‘Thus when the right stick strikes the small drum and the next beat fells on the large drurn with the left hand, the left hand should be on its wey over the large drum as soon as possible, This will help to eliminate dragging the tempo and make execution so much easier. In playing Tympani the motion should be from hand to hand, preferably right, left, sight, left. In many cases this rale is violated for the convenience of hammering. But at all times however, the student should try to play’ from hand to hand whenever possible. Practice the following exercises keeping this principle in mind. Exercise 5 D&A RL RL & REL REL-RLR LREL-RRL LRLR RILRL RERL RE BL RL R R RER LRY RORLR RERL RL RLRE LRLR RLRLR L EL Exereise 6 RRLRL RRLRRL RLREL RELR ERLE RLR 8 ROR LE R LRLE RL R BLR RLR LRER BFc Exercise 2% nm t TRE RLR LRL eLat BLR t wt R |? « if ee “ i MEGA Exercise 8 Ss EL OR RERL RL oe RL RL RETR Dea Re RBLEL EL RL R LR LRLREL RLRERE REEL BT B RLR L RLER L RL R RLRERL RRULRL. RE LREL RL - . RURL RL RL RRURLRLIRLEL REL RRURE IRL OR iets Exercise 9 X “ _ : R URL RLRTEL 2 z ERLEEL Ried 1 a RU® Rg L RE RL RERRER RL RL ERREL = I Fare PRUh exueugnte Liei Ri x RL RER RL RLETR 7” " eunS$in ia Soe iu pre tn cuintsin gis26 ‘The purpose ofthe roll to produce a sustained and even tone, The string player does this by continuing to draw bis bow across the striogs; the trumpeter does it by continuing to blow into his instrument, The ‘Tympanist must do it bya rapid succession of blows on the deur head ‘When the proper stick and the proper technique is used, the roll can be executed so that it will sound like one continuous even tone, with none of the separate single beats being heard. The key to securing such 2 sol is the follow. ing and the student should keep it in mind while developing the roll, 1, The first blow of the stick sets the. ‘head in vibration. 2. The object of every blow after this is to sustain, to ‘prolong the vibrations already setup. A setics of blows, no matte how rapid, will not produce an even and unbsoken sound if new vibrations are set up and destroyed with every blow. Only a definite effort by the Tympani to keep the head in vibration and to sustain the vibration already present, will produce a good roll. ‘The Tympani rll is a single stroke soll It should be practiced tight loft — right lett The Speed Of The Roll ‘The speed ofthe roll will depend on two factors: 1, The tension of the head, 2. The vibsating quality of the head, [rhe higher the note the gretter the tension, therefore a greater apeed will be needed to keep the head in vibration Ze fome the note, the less tension onthe head therefore the speed of the roll eke less in order to keep the head in vibration, in vibration, AndanteDifferent Types Of Rolls mi gore ‘The sustained roll wetten ‘oll would look like the following: depending on the tempo with the final note not audible. RRRL How To Attack The Roll Should be utiched with the right hand, In some cases where this is not practical the left hand may be ret the right bard should be used to attack the roll at all other times. The student should try to make this § automatically. Do not attack the roll by striking with both sticks at once. 2D¢ soall drum to the large drum or from the latge drum tothe small drum, in order not to break lite should be worked out.% The Tied And Separated Roll Most compostrs make no definite distinction between the tied and separated roll, Generally when a roll is desig. nated in « Tympani part where the rol is followed immediately by a beat, itis not often found that a composer wi specify by the use of the tic ~~ whether the roll is meant to be tied over to the beat or whether the roll is to b stopped slightly before the beat before this beat i struck. From long experience the author has found that most rolls aze meant to be tied over to a beat that occurs in. mediately following it, A GOOD RULE TO REMEMBER THEREFORE, IS TO TIE THE ROLL OVER TO THE BEAT FOLLOW= ING IT, WITH THE EXCEPTION OF THE SHORT EIGHTH ROLL WHICH SHOULD ALWAYS BE PLAYED AS WRITTEN. For practice pusposes, it will be well for the student to acquaint himself with the distinction between the tie an separated roll in the event that he is celled upon to play the rolls in this manner. For the purpose of leaming the distinction between the tied and separated rolls, the student should practice th roll exercise given at the end of this chapter with special attention as to the difference between these two methods ¢ playing the oll in combination with a succeeding beat, : The Tied Roll “The tied rolls designated 2 J F) 2 J ‘Here the roll is played sight into the succeeding beat WITH THE BEAT ITSELF BEING STRUCK. e Thesepated oltisdesignaea 2 J ¥ J FY Here the roll is stopped slightly before the succeeding beat is stuck, The Double Roll Designated: To execute this type of roll place the right stick on the small drum and the left stick onthe large oie and soll 2s if you were playing on one drum,S100 42-60 following exercises illustrating the soll in combination, Exercise 1 29 ae Wigs BT ks ss Sy Deg BR gy BD ss We 65 Vprai Wie 4 ERLWY SS DIRT SR30 4:86 Exercise 13 InCéG Exercise 14 RLLRRLE LER RLELREL ROLu u u Muffling The Tympani a Proper muffing of the drum — that is stopping the vibsations of the heed completely, is an important dynamical requirement, There are two reasons for muffing, to prevent the sustained tones of the drum from interfering with the succeed: ‘ng tones or the succeeding harmonies of other instruments, and to give the notes themselves theit proper time values For example: Muflled ‘Muliled, 1s the fest measure the note is allowed to vibrate forthe frst two beats; the third beat is mulled, giving the halé note i's proper time value, In the second measure the eighth note is given it's proper time value by mulling on the eighth rest immediately following the beat. Method Of Muffling ‘Muling should be done with the last three fingers of the hand firmly but lightly against the dram head.32 General Rules To Be Followed In Muffling 1. When one single note is struck and is to be mulled, itis best to muifle with the hand that remains free when the beat is struck, ~ 2, In passages where a great deat of mufling is required itis best to muffle with the hand that stxikes the drum, Practice the following measure illustrating muffiing from drum to drum and then work out the exercise. Try this exercise by tuning the drums to different tones and noting the amount of mufling needed for these tones, F298 Exercise 15 nC&G L- ROLR oR RLRL R TRLR ad33 The Loud Roll Jn order to get the greatest amount of power from the Tympant it is necessary to change the position of the hands than that given in the chapter on “Holding the Sticks.” As the roll inceeases in volume beyond mf, the maxim m distance from tae hoop should be approached. The thumbs should be pointed upward and the sticks should be almost parallel to one another, The fourth finger is now in contact with the stick, The elbows move in closer tothe body, and the player should step back very slightly. ‘This Position will give the greatest amount of freedom and enable the player to produce the maximum amount of volume required, It should be remembered that in the loud roll, the foreatms arc used to assist the wrists and fingers. Practice the roll from the softest degree to the loudest returning to the same degree of softness that you started from, Note the change of position as given, Remember that as the roll decreases in volume, the player should resume the original position from which he started, Rk Exercise 16 Sr emerreenennnnnreeearerene reser renrenrnnnentmnnnnnrenavarnneneanianianaaannanneanen PP-LTese poco a poco -mp a a OF pn nnnnnntnnnennnninnennenernnnannnnes LP tin ip MP mp po pp Pep B® hig a gi| - The Forte Piano (fp) Roll 4 strong attack. Allow the vibrations thus created to die away until i reaches the degree of softness desired, When | this point is reached start rolling again to maintain this tequited degree of softness, ‘The following exercise illustrates the Forte Piano and crescendo rolls, eSs5 Sp Exercise 17 nC&G z trem, Ie Be ie pip pip S pp Bd wf ef te wewnne _prerrwenne, i i= f tp Je to tp tp a eeer ee er Dynamic Control » Playing with the indicated dynamics is of the utmost importance to the Tympanist. The ability of the player to grade his dynamics to the greatest effect will determine largely his artistry on the instrument, In the extreme loud ‘passages the tone should never be forced so that the instrument no longer sounds like a Tympani, ‘The degree of loudness and softness should be worked out by the student so that it will be most effective, ‘Work out the following exercises ‘bearing this in mind. d.88 Moderato Exercise 18 C&G nf=af nf=f ERL RRL =f R R Rp fp faf ttt fer = om - TER LR LRRELR a bay v% 1 Fighth, Stes i Jess Largo Wstthtievalusot eee mB& FH Exercise 4 LORLRL R RRLRERL ROR LR L RL LRL 4a BEES Toco PI RLRLR R LRLRLIR RL RLREL RRL R ERIRE RRLRLR 2 =P oz TRIRR EF RL ERE din 3 2 z z =e ROR LRL R+L LRLR L RUR L RUR POO a 8 pO IE Sya Cross Hammering ‘A thorough knowledge of cross hammering is important in ofder to obtain balanced hammering and to enable the player to execute fast passages. c Cross hammering should aot be overdone. The player should use this type of hammering with discretion. After a thoroygh understanding of this type of hammering, he will soon lestn to use it in its proper place. 7 How To Cross The Hands Properly Crossing the right stick over the left. ‘Make a circle with a piece of chalk on both drums. Note carefully where the right and the left stick strike each drum and mack this spot with 2 cross, Place both sticks _ ‘on the small drum in theic proper position. Consider the following phrase. RL ROR ERLE ‘At point X the right stick crosses over the left, When this stick reaches the drum on the left after crossing ove, it should strike the left drum at approximately the same spot where the left stick has struck this drum. This farthest point on the drum is chosen in order to give the acm the proper swinging room, “Whien executiag the cross beat at a fast tempo this long swing will prove the most effective manner of execution since it will give the player suffdient room to maneuvre at « fast tempo. Practice the cross beats slowly at first, working for eveness in sound, After you feel secure in its execution, build the tempo up to.a speed equal to youn ability to play clearly at this given tempo.Crossing The Left Hand Over The Right » seat: ip the same manner as the right cross with the exception that the left stick strikes the small drum : ee Pind. Jn most cass it will be found that the left hand cross is more dificult to do than the right 7 ahere the #1 [hand cos. 3 IN EXECUTING ALL TYPES OF CROSS BEATS, IT 1S NECESSARY TO GET THE HANDS OUT OF : is Wak ‘OF EACH OTHER AS SOON AS POSSIBLE AFTER THE BEAT HAS BEEN STRUCK, - Srudy all the different types of cross beats given. Practice each one separately. When you feel that you have ‘mastered ie thoroughly, work out the two cross beat exercises which summarize all the possible combinations of ‘cross hammering. Cross Beat Types (In Sixteeaths) Nos == 2 a vein “Sg, a nL b : 3d Nos sdasd RUORURLRL LRL RI@RL RIOR LRL RIGR LRLROLRL KR LRI@RLRIGR LRIGRL RIOR >.38 Practice exercise 20 ‘ustrating cross hammering in quarters, cighths, ‘encountered, the student should refer back to the cross beat types. dion Exercise 20 mD&A and sixteenths. In the event difficulties ate R L@R yt @r R1@z 1 , Sk = SS SS SS =—=-= sy BD =: = 7s a b§ vs RLR@LRLRGL 5 R R LOR L ROL RL ROL R LR LOR LR ORL BE ge. S SsCross hammering in triplets a — eo —— 4 = 3 SIE Ee = = ROR WR L LRE ROL R RLOR TRL RE RL ROL pWORL RI RURL WL RE RI@RL RLRLRL RLIRERL ‘puereise ilustrating cross hammering in triplets d:08 : InD&A Hygreise 21 63 BURLRL RUERLRE RLER RERLRL RER LRLRERLIRLRIR RUERWRERLRIGRL RLERUR ERE RERE ROL RE RE ROLR ERE RLRWRLIRLRLRL EERERLRLELRL RE RERERERERL RLRLRLRLRLRL RIRW@RIRLELRL RERURL RL RLRL 5 h oe 33 DoD 8S Eero RLRLRLRL RRL RWRURL RULE BE ar Peak x“0 Staccato Technique {e's often necessary to produce a clear concise type ofbeat in playing certain types of music. Due to the low tet of the drums it is important to the student to develop the staccato in order to proper execute this type of technir How To Develope The Staccato ‘The student should frst refer to the chapter on holding the sticks, Review this postion and take special note of the position of the thumb and fist finger. By exerting different pressuces with these fingers on the slick it will be noted that different values can be given to the type of tone produced on the Tympani. By grasping the stick tightly between the thumb and fitst finger a short staccato tone can be produced on the drum when the stick is held in this menner, Practice holding the sticks in this manner and note the clarity of the beats, especially in fast passages Practice the following exercises and meke a special effort to make each phrase clearly heard exerting the correct smount of Pressure between the thumb and first finger to produce a tight sound 4400 Exercise 28 nD&A RURL LOR L RRL RERLELRLRERL RL RL mane 7 RL RURIE © RLURL RL RERLRE RL R RL@R LR RL R LOR ROLRL R RL R1@R R LRODRL 2 LREROLR LROLRL RERL RL RRLRRLRStaccato In The Low Register Of The Tympani Es Exercise Tn Eb & Bb SHUR uRIR ROL R BR R LOR L Boece taming exercise (24) will serve io ilustiate the difcty of producing the staccato in te lower tones. Practice this exercise making a special effort to make the notes clearly heard. ee Exercise 24 R R LR LRLRLR L ROR RLRL LRLURRL RL ELLER R R LoL RL@R R R@L a = Ss 8 Se 2 Os oS42 The Grace Note Or Appogiatura ‘This elect i often used, and in ts several forms is very effective when properly exected. The single grace note 4 is played similar to the “am” on the snare drum: the small (grace) note is played just before the beat; th large note is played directly on the beat ‘That is, what is written this way: is played as though written - ‘The execation most not be too “tight; the grace note should not be too close to the main note. The sound of two. distinct notes must be heard. The main note is directly on the beat and carries the accetit; the gface note is unaccented. Pe ‘The single grace note effect should be practiced from hand to hand; since itis act successful a fast tempos it is not necessary to develop any great speed but rather to concentrate on obtaining clarity and precision, It is easy when executing a grace note to stifle a drum and prevent it from giving its true tone. This should be guarded agaist by withdrawing the stick from the drum head as quickly as posible The Double Grace Note 4, Hite again, a with al grace notes, the two small notes come jst before the beat and the large note fall dicectly on the beat, Waitten: itis played as though written RL OR ‘Three distinct séunds mast be heard; do not play the grace notes too quickly. from hand to hand; the more effective method (for right hand players) hhand naturally takes the accented main beat, It is not practical to play this beat ~ 4s rightleft-ight, so that the stronger right No grace note or appoggiatura is begun with an attack or accent. The atach is sereroed for the main note, The Triple Grace Note A ‘Here the three small notes preceding the main note have the effect of a triplet, as though written 2. ¥ a LRL R 743 | Practice the following exercise on geace notes taking great care not to play them too closely. Grace notes are most lective whea played slowly. Do not aitempt to play the exercise too reply. oe Exercise 25 | iacadCounting Rests ‘The ability to count accurately the number of measures rest, no matter how numerous, is one of the most in portant requisites in Tympani playing. This ability can be developed only by the most careful concentration and closest attention to the rhythmical stra: ture of the music being played. Conductors cannot always give an entrance cut to the tympanist, and for this reason the player must be absolutely certain and sure just when he must “se ia: “Let us look first at several simpler types of zhythm in which rests occur; w 8 Here there are two beats in a measure, that is, the rhythin is “1, 2)1, 2, ~” Then when we come to the thre measures rests we will count as follows: “1, 2,2, 2,3, 2"—and then play, Notice how the fist beat of each measuze is used to indicate the numbers of measures zest counted, This can of course be continued as long as necessary, according to the number of measures resin question, Example (2) hes four beats to a measure; the thythm is then "I—~2—3—4, 12-34, ., counting the 4 measures rest in example 2 we say "J—2—3—4, 2-3-5 4, 3. on the fist beat of the next measure as indicated. «" Therefore in 34, 423-4," and come in In example 3 the five measures rest is counted: “12-3, 2-2-3, 3-2-5, 4-2-3, 52-5," ‘These examples should sufice to make clear the general system used in counting measures rest, and the student Will easily find applications of this system to many other rhythmical patterns. = ‘In many cases where there are « great many measures reat for the tympanist they are divided into groups, often Separated by “cues” played by other instruments, giving the tytapanist an opportunity to check his postion. His ability to use these cues will depend leegely upon his keenness in detecting them in the orchestra -45 and tuning the drums at the same time is not an easy trick, and can be developed only through player wl nd some dificult in continuing to count accurately while trying to bring the deem teh at the same time, The key to the matter lies in becoming so adept at counting rests that it be- ‘proces, and will go on by itself while the player pays attention to tuning. s lose his place he may be able to find it ‘again by his “cues.” If none are provided on his rhe will do wel to enter his own. esta he player should so place himself that no matter how ‘many drams suttound him he will be eble 01 a all ter—even when bending over his drums at any extreme angle, ages the fundamentals of Tympant playing have been developed. These fundamentals ace im- idefstanding of the instrament,7 SECTION TWO Exercises For The Development Of Technique On Two Drums d:92 Allegretto Exercise 26 To ces ROR ECR ~LRRLERERE LR LRLRLOR LR of RERL L RE LRL RL REL@L RF LRELRL ROL Renee Haee ete ate ten ee ease me ee ee 3 3 2. 2 8 RO RERL “Rp RLRLREIRL R R erest. poco a poco J.se Tempo di Marcia Exercise 27 In Ct & GH Ro ~R R LR TRL RE } 2 | pt @RLRLRLRIERLEL RUERSLRLHOL RF = R RL eae7 J.es\ ‘Tempo di Polonaise Exercise 28 Tn Ab & Eb Be Lb RRLR —= ,LRLRLRi eR Sf marcato Lo Z $ p CRunte : ERERLE Ss i & LR LRRL ERS 2:22 Not too fast, : In BaF Exercise 29 oF a aie OL Sf RLRR Exercise 80 3 RLR LRI@RLRIORL RIOR L RIOR LE 2diso Tempo di Marcia nE&B — fe vk RLRLRL R RL RLRE = = fant EE = — = = = === === eee eee eed ee ere are eee RLREE RELEB LR be shoes 2b RLRL LR 3 A yh & RRLRLRLRLRL RLRLRLRLRLRL dDode BD ss , 2 ee eee L R LR RERLRIGRL R hd 2 3 8 2 2 3. o> e LR RLORLRLELR L ROL —— J:6x Allegro giocoso Exercise 88 = In BaP bet p= f LELRL LR EL RLRER URL pp sibite fe fr 2 ORR ER LORE49 d:100 Allegro vivace Exercise 33 InF&C z = f a i = eee ee ee & Exercise 8: R LRLRLRL RE LRLRL RERLR R LRLELRERLELR ‘i ab L L R RLR TRL = RLR LRERL o Pe RUORLRL R WRURL Ri@RL RLORL BRL RL E RL RE orese, poco a poco a gt Ss LRL R LOR L R > URURL RURRL RLRRL RL RERL LRL OR RERL RE # RLRIORL RIRW@RL RRLRLRLR ERE LR LRLRLRLdone Exercise 85 In B&F a Allegro preciso . taabegh Exercise 86 accel poco a poeg RL RRR —== Andante maestoso ‘is ene Exercise 87 i »p»_ fF LDRL Rt RI =f RRL RRLRLRRERURL RLRLRLRRLRLR RLRELRUERLR LRER RL ERLE RLRERRRL RLR RF LRLRAt : ‘S51 ig Ab & BD t ROL R LOR Exercise 8952 deere Exercise 41 In Ab & Eb dss Tempo di Marcia In Ab & Eb Exercise 42 = > ee a t at oreee 2Saaaaae RLROLROLRT tutta forza| © Tempo di Galop ( beat to 4 meastie) 2 33 dite C sauces ) Exercise 4454 4:02 Allegro Exercise 45 In Db& Ab ds76 Andante preciso Exercise 46 mME&B passiseess@RLRLR RL ROR Exercise 48 RIGRLR IORL ROL R RR RRL RLOR wt Exercise 49 RLR LRI@RLR LTde Exerefse 50 In Eb & Bb accel. @ oresa pocoa poco. - ~~ Vivo id-132) rail ¢ dim. poco a pocoa 3 Exercise 51 ‘Where ineasure indicates 4 count thre¢ beats to a mezsure. os ‘Where measure indicates $ ‘count two beats to the measure. AGE ded Exercise 5258 1 diss Slow March Exercise 68 In Eb & Bb ue RLORL RL RIOR J 3 so 3. L RURLRI@R R RLRLRLRLRERL SEE eee e L RIMRERLELRLRLRLRL R LOR LR LOR L ROLRERGLRL RIORL RIORL AS by es 2s a RLRL RE RI@RLRL Exercise 54dso Allegro Exercise 55 InF&C 7 mS BF OFeee. poco a powd Pe rik» VRL RERIGRERL RRL R DSL ce SPPS S PRS Exercise 56 “psubito reso. poce a poco s te60 1 Exercise 57 ‘ereso, molto Exercise 58SECTION FHREE 2 Three And Four Drum Technique ro middle drums should be dizectly in front of the player with the lowest dram on the extreme left. This rhe to tk form a small semicircle, WWith four drums, the:fourth drum should be Placed so that the player is in the exect center within easy reach some case vith moder scores « Sth drum has to be added. The drums should then be placed in as small tele & pusble so that the player is within easy seach of etch drum, Cate should ke taken so that in going ‘eum to another the screws or the counter hoops of the drums are not struck echnique Of Three And More Drums ammering to extreme drums should be avoided, Tn some race cases this might have to be done swith One hand on adjacent drums is often a ecessny Three Drum Examples P,0,F a == == = =— + a RRLRRERRIRRIRRLR a Bek eee kent akureitipena Four Drum Examples P, Bb, D, F 5 __—_— Sa z= VRURLRER LRLRERIR ee = Tes SS =S — | PULRIRULR ERE RIRE R SS PRSUNRTRERERELRLETRa Three Drum Exercises d.08 ‘Exercise 59 G, Bb, D ss ds dd mft iu RR RERL RIGRL sds PsbS 3 50. Rg RBLRISRLRL @RLRL LRRRLREL@RLRIARLRL DSD SdISDS sd CR RLELRISRTRE RID sos dss gp > LZ Ee RLRLRE RERLRE Le 2£ be ee we cavcel, poco a poco z 35 == —- — — — Serer e aes rae oO ane os =n z q ee eZ ary a wit, poco a poco ee z zCw Andante (J -80) Eb, Bb, G \ Exercise 60=, tf accel, = ms SS 2 3 = = Moderato (4: ¢8) E,B,G Exercise 61 PY BARLEY BRIERE OF Pp =F 2 2 RLRR LRL Allegro (d.:96) Exercise 62 Bb, F, FURL R RLRWRURLRER FE IT map TR ER RUD LruReie RRLRIORL RR RR freee poco poco gp RR RRL RERL subitoP ores poco a poco” =~ DRLRLRL RL ex LORLRLRERERE DRLE RIOR LRLIRLR RLento (¢.: 68) Exercise 63 0,6, E pb = = bbb bw OP Presto (A 10) CW Exercise 64 St: 65 “Moderato (d.+84) Exercise 65 3) bh bat “accel, © -. Allegro yivace (d +96) GE : Exercise 66 Leu ‘ @RLR RURLRIOE tae RLRLe IRR Z £ Z Allegro moderato (d .9s) Exercise 6YNot too fast (#:76) Exereise 68 c,G,D fn mfr RL R RRLRL L RRLRL R RLROL R RL RIGRLR L RIOR Slowly «d= 9) i BB, a itis Be: Exercise 69: Four Drum Studies 0 Jegretto (4-8) Exercise 70 RLRUR RL R L@R L Allegro (d :92) RAGE Exercise 71 a LL RLRLRRL~S0L-bo- we FA. 68 nc Largo (dss) Exercise 72 G,C,Eb,F Pf npaf a FA,D,F Allegro (J -9s) gee & SSS Be ba ne “EA Re-ty g LRRLRRLRL a = = 2 $0 gerrtongo (dss) GCiFS SSS 2 om delete ee alee —___—. =—— Pp Pp aE Ppp i Moderato (sa) Exercise 78 i G, D, Bb, F "$< off —————— p t =f 423 rtp ; Te pe on a ire Bie ys in, p>6 Technique With The Pedal Tympani ‘the vesaile use of the pedal Tympant is the ulimate achievement in the technical mastery of the Tympani, achieve she highest results the ear must be perfectly developed. Since the Tympani head is so unstable on spheric conditions, 2 great deal depends on the player himself in determining the accuracy of the Jowing the technical sades for pedal Tympani efer to the chaptes on tuning with the pedal Tympani : pedal set so tha youave the complete ange on each drum, ‘ey be relatively simple in doing the folloming exercises ifthe staden will tke the drum first with the pedal teleaied position and then slide up to the note desired, que with the pedal as been developed, the use of mulling in stopping one tone from sliding into cised freely. The Glissando (Gliss) done by striking the drum with the pedal released and sliding up to the note desiced, This may 1s by tucing to the highest note, sikiag the drum and releasing the pedal, cliding downward to The most effective form of the glissando, however, is upward. os Exercises for Pedal ‘Tympani 1 == S L S — = = S: Fe70 The Glissando gliss. ais. Melodies for Pedal Tympani71 America Samuel F. Smith My Old Kentucky Home Andante Stephen C. Foster ee March from “Aida” 8 G. Verdi72 FIVE DRUM STUDY ‘For most practical cases, the use of Four Mechanical Tympani will be suf- ficient to solve the most technical problems in the modern repertoise, There ate cases, however, where the player will find it necessary to employ Five Tympani, ‘The exercise given below will serve to illustrate the use of the Fifth: Drum, ‘The player should be careful to arrange his drums so that each drum is within convenient striking range. Exercise for five drums ‘a Slowly Low E, A, Cf, E, FF * St2 *SECTION FOUR; Repertoire for Tympani Symphony No. 101 by FRANZ JOSEPH HAYDN Presto. 7m 10 Bah iad a vei)74 in D.G. Andante. vig 1 Rai: . wk! Viet Minore. 12 2 é Megeionte” 1M 10 8 24 WPiAtto, Allegreito, ici 4fencer 75 2'F 19 Minore.76 % Symphony No. 5 by LUDWIG VAN BEETHOVEN, op. 67 Tympani in C&G Allegro con brio. Pagel f 2 8 4 Voit. & 5 Viel. 7 PS ry or ar w AS ss uv nl Jl, 4 A 4 4 1B 2p ft a Onis 46 m2 Viol OnSolo Tempo T. ao on on. PF FMs 5 [Andante con moto. (@)= 2) 2 25 ViolL Hols, At a P Hols. 12 Be "Viol eo tre 47 ES din p A 4 4 to moto. us) Tempo. Viole» pol ’ 3 Allegro. . poco ritardatempopoco rit, atempo joooo rit, tempo fire lr aN 44 Dee Eee = 2. ores, A2Vicl. : Povo rit, atempo poco rit. tem Bog PEAS temPopoeo rita tempo Pagel. bata78 Allegro. (d= sa) EE a x 7 2 7 Bassi = o +E 512 Of tempre Tempol.(-z98) Fic 2. iTS us ona P ‘orese, _~ Alllegro.(d=sa)8 im porese. f & Perec. £ P sempre pit Allegro Prosto,(o- ua) ff temprei C Symphony No. 7 t uw by LUDWIG VAN BEETHOVEN, op. 92 Poco sostenuto dee in { 7 AE, w ee ¢ o Vivace ¢-= 104 25 Ep sovene eee BP semprepoco cresc. -"— = = Pile crese, Allegretto de76 ate + of Y dinin, ~~ --? tte 8 dinin, r E43 ca o (oq tee er ee = Seen ‘ 182 sempre B P | F a 2p wc ‘Assei meno picsto 9G __fpesesemnemnnnnnnnumanennnnraremnew Spay _freeenneenennnneee eee oe ne oer a v ? ot £ 33. 27 4 2 = SS —— eee a f a ‘ CODA Assai meno presto Presto af Bo in ALE Allegto con btia d= 72 r 1 w Weope yey #0 as : ie vo 4 B crest. poco a poco ee veoe f fof f fF tes 456 rss pe P eres. poco s poco we Tet eg '8 £ Symphony No. 9 by LUDWIG VAN BEETHOVEN, op. 125 "Allegro ma non tréppo, un poco miestoso d= 88 ben marcato te =P: fad fia 2 3 4 5 8 we Ff vf SSL FL SF L PP »P ep weit, Sf a tempo ca P we ~~ 6 4tempo 7Hf 0 ee : v SS SS Soe pres, = 1 2 3 486 ee in === Molto vivace d-eiié 4 Solo 1 2 4g L { i of 5 at F — Ritexo di tre betate, 17_ A _18 Solo 3 Ritmo di quattro battute, f oF r 3 Ea res pawee. F vat # eee os 5 OF 2 f y_3lt 5 * Stingendo i semgo Fe mala Presto oxtié [Tg = ~ Malte” yivace™ a 7000 sited, f87 lem diets 5 3 17 m_18 Isolo Q2l> . 2 > 2> Kin Bee bate, : f Yr r PP ores pit ese, ® ire t 2 of t F f Coda_stringendo il iempo a7 EEE Eee eran crete a Adagio molto ¢ cantabile d= 60 f wet a Andante moderato. Tempo I 17. a Solo = w Ps i Pe z 4 _Andagte moderato Adagio Lo steso tempo P 16 P 7 16 sempre B orest. 1 1 1 1 1 1 a a i (Bb) see page 9.88 Presto d= 96 b 7 1 in DA. af dene Allegro ma non troppo # = 88 d Tempo I P Adagio cantabile PP PL pag Adagio ‘Tempo I Allegro assai Tempo im Vivace Tempo 1 Titard. eu T z 1 4 2 2 Allegro assai_ dz 80 Be fof PO MF poco Adagio Tempo alo , Presto : ben Recit. cf o & olla voce 3 i Allegro assai BY fp” adlib, Pf ete ED aa Ihe Allegro assai_ <- a ial, FI molto tem. H aes &89 af Andante maestoso ‘Adagigyag gon topporma dna 84 Ft T ro energico, sempre ben mareseo PP io ¥ a Gremommene fa Allegro ma non tanto J=120 ep HEP tee ooKiuttaine 9 2 7 AF 8 FSS LES Peres - = Poco Allegro, grringendo il tempo poco Adagio a ngleinadin a fe F ° innate o f a4 6 Lar Yoo FA, fof ty ‘Maestoso 4-60 Prestissimo = See Se ee ee ee oe oe oe» 0. Symphony No. 4 by FELIX MENDELSSOHN-BARTHOLDY; op. 90 Allegro vivace ever. se Bp cvewen- ~~~ do- - a ~ ~¥fes se eS ee ee oe oe ee fat, ise animaso poco a poco orest. Con moto moderato 13 ¥ P Presto SALTARELLO f a Andante con moto inE.A. acer Some fe on92 dimin. rele f rese, ditnin,93 E L ; by JOHANNES BRAHMS, op. 68 inC,G ‘Un poco sostenuto Vi Symphony No. 1 tom le 5 Boss, C oe WATS: ©) Hr. bp he94 Tet ReFog Va. Ke, 20 fs setae eopae 9 0) aMee ANS ten See ws DEE eine aie) P Pp " f 93 — mee} P perese, molto in H, E Andante sostenuto Viol I ss Ss ss Ss = we in, 6 Un poco Allegretto e grazioso tacet Adagio dtring, a fonpo 89, fn t A poco a poco 8 y ze =f ‘ at 4, sotto 4 temo cas ee ae g 4 » i242 [e)Pii Andante tee fP Stim =~ op a ae ee ee54 6 6 2 P F ee Sei. Allegro non troppo,ma con brio Vet ‘renee ft fromm AB AB a a386 (Pmare.e orets. animato (Oh. = & a | PHo>—— fe —— Freres. Pill Allegro 301 = ar 2 ox ass a08 ce Symphony No. 4 by JOHANNES BRAHMS, op. 98 in Ei H ; legro non troppo ae Yh i (A)xoet Sa SS By nt Gig rot at5 s_ & * g inE,H. 7 Andante moderato Hell pg Ape s5_ Be Olas Be fd. 3 g Holabliis, Sigg Holabl. Hr. Ose x £42 Fi Mate ypeae 2 = z s l100 Poco meno presto j | n eel dim. pp fom 2 + Taped a piBLioTEDAoo — i — ee ed =102 wk103 Symphony No. 4 by PETER ILYITCH TSCHAIKOWSKY, op. 36 I 4 ‘aymponi in F.0.A. dante sostenuto. Andante A 10 f ‘Moderato con anima. 19 (tly ie gan Fe) lenio nivss0. Moderato Es 3 40 gti andante, Seitard. Baky ao ty Chase Geo B dA to Fb : ani (see page 9): iy oesFATS [Lea 104 (aimp.ia #, Fis.) Ben sostenuto il tempo precedente, PP stringendo poco a poco ‘erescendo ora maar cen edo pe. a fo H Moderato con anima. SF ff 3 4 2 ears 2S] eee =e - — L (uta Hin Co Fis tn A) 4 5 Baa L&per ¢&M 13 N 13 0 16 Pi 4 Moderate Seeel, ost andante. Ben costenuto tempo precedente:106 u Molto By mosso. 12 ke {*_moseo.Allegro vivo. q, Andarfingin modo diCanzona. 76a. Bik mosso. B23) C28 v 16 D 24 uf Ff 22 3 Tempo I. mOsm rite, III, SCHERZO. PIZZICATO OSTINATO. A In Des, As. ui on legro. p 1g A se p28 cM Dp 39 KS ee EO 8 Tempo 1, oPiG 3. a ona! ‘Schersé D Cal segnde pot ta Coda. H 2 of IV. FINALE, Allegro con fuoco. m BOC, if A 2 2 = = a as108 ie Andante. (d2d xpexsnaymare) EXga Fag myte-ded nemzermr,109 ah Symphony No. 5 by PETER ILYITCH TSCHAIKOWSKY, op. 64 Tympani in G.0.E. I Andante. Allegro con anima, 19 19 AAIB A B c. ee ee x Mut G.in A. Poco meno animato. string. Tempo I. F 13 Un pothettino pf animato, Molto pid tranquillo. BR g Tempel. BE SSB SBS SSS a —110 Muta A in G,D in,B,E in D. N_.16 ef oO PF Foca a poco erese. Muta B in HD in B. 7.917 R10 a f Poco meno animato, string. Tempo I, Se T 20 Bu 12 Tii puchettino pid mosso, Molto piu cranquillo come supra. 18. 12 vet string. Tempo 1. om emg aneS42 Tympani in Fis, Gis, D. Andante cantabile, con alcuna licenza. animando. riten. sosten. anim. sosten. 42 2 Soa Con moto.animando. sostemuto. Tempo I. animando, riten. sostenuto, Poco pit animato. 3 5 2 1 2 A riten.Tempo Lanim. riten.anim. Poco pit> nosso riten. Pitt antmato.riten. Poeo meno. 1Bi_ 2 2 264 Tenpol. 2 4 5 Buta Fis in @ Moderato con anima, ° D Stringendo. ES Fa P— Immer sehr Iebhaft. iF povorit tomgo Ff S26 9A ana 10.4 core 2M 12 12 Se Ol Bes. tin. P 13/8 — rubiy rors nn nizpter, Coppel? so schnell trieder nook eine langrem Erstas Feitmal? (ore Ietbatt,) dee B R78 P=LLL Lt kh en ee ee RR Se ee aan Sp >> Asleigern dringend ‘molto cres. = = EF ittend ruhiger f 18 immer lebhefter f ten 4,19 poner 47 mit Holzschtsgel. 20 15 21 Mh 22 von tore, P a4 if 25 ae 1 1 accel, 2G letohyertig. am ge schnell wnd schattenkaft Ae 28 pocortt. eteas gomtohlicher af tebhafior : Volles Zeitmass, ‘gah 4 Ppa “Goch iobhatt) uf ~~ 5 29 6 30 din-pp Ff +7 rest. ; it Holasohligetn oe inner ausgelassoner und Coke it Sovenmesliatd 7 0 etoosarcitor ca Desi ee Sf ; IF af erese, SF P “ Epilog. Doppelt so langsam. 1 1 (ia Zottnnsstdos Anfangs. Sehr lebhaft:’ # = me S ~ weFE ee ee ee ee ee ee Schelomo ad by ERNEST BLOCH Moderato stem @ atenpo tempo ibn 2 Of ace Sali Foe, f= — accel. a tempo _ allarg@ — n @ tempo Quasi una cadenza ma in tempo) Pp P000 ores i SS Ppa Assaj lento @ileery moderate SF tim ’ ; 7 ateeae colta parte a ‘P000 Fil, Ob. Sole ® 1 1 ib waitmaty 3 1o@"% ‘ETO moderato (pooo rit, ? alempo 4%? r¢@®Piu animato 7 poo A @ accel. accel. ‘Allegro (colla parte) ® Ons ee 6 @e @ ; S Le Saf occa 1 tempo org 2124 LOiseau de Feu (‘Danse Infernale Allegro agitato 4 = 168 ‘Avec des baguettes en bois du Roi Katschei,” “Berceuse” and “Finale”) by IGOR STRAWINSKY GO PP subita Exeoutex ces doubles croches avec deux mains—tres rythme! 2a & a a te 3 TD _Beguetes 2m pos (Tuba) 7 ‘ea Lap, i Re| 7,2.) «,. lipo =r —= fmm 20} opwwenenenw Gpamsnnnnn dyna125 ‘Tamb, de Basque Tas, TAB. 3], 24, 25, 26) Pientito neo N Td. ‘Changer le La eo mi inuno = & i I. ‘ 2 3) 3 Chaage Ie mi algun Do, et len grave Sol 4 1 1 G5) 6 BB 4 BF in uno 3B} Baguettes en bois > ‘Bagucttes ordia, tres fort. 2 = caf Berceuse and Finale Lento Eo =e BB. 4,8 5 (eee sy Capes Cee. aaa aa to. se ss a Tire = AOS ga ne ee ee kk ts. ae. = 0) oe Lempre bin crescendo” PSS126 Concerto 4 Tympani Slow Copyright 1939 For Violin And Orchestra | by PAUL HINDEMITH: A 3 2 6 0 Hop Ky 7 6 7 by Associated Masic Publishers, Jac. ‘Used by pesmission ee tote!1S ese a a a a2 i. &. =. £2. = BR. 2B. RB A Stopwatch And An Ordnance Map Ry by SAMUEL BARBER, op, 15 ‘Tempo di Marcia J 99 Wooden sticks Soft sticks Ca SS SS ——— ¢ ee GR pin, te ii ia te win, PP ahh, ff ben sentito pp SS a Hard sticks Salt sticks pet a ngs J BE molto dargando one a “| Poa poroetempot Capyteh 1942 by 6, Scinmes, 1 “Used by pemissionif William Billing’s Overture by WILLIAM H. SCHUMAN, ae 2 ‘Used by permission ofthe éopysight owner G, Schizme, Inc Fugue in C Minor by JOHANN SEBASTIAN BACH ‘Ast. by DIMITRI MITROPOULOS PYF esc otto OF titwd, Used by permission of Diriti Miropasios gar al al lt a al!129 Symphony No. 3 P by WILLIAM H. SCHUMAN: Passacaglia 4 4 4 Oo Fugue — Allegro solo (3) of =—? subito Lf mf yp nbito Toccata 1842 by G. Schirmer, ‘Used by permision130 MgNe 0 Solo American Salute Based on “When Johnay Comes Marching Home” Briskly — with Verve ¢. = 128 of af f 4F iS frre F accel, Foster — with forward movement Py _, Solo aif Copyright 1943 by Mills Music, Inc. by MORTON GOULD eA a Bo GoDgE, MH. LL 1o_Solo Hi2tidsKk wlioTheme And Variations ce by SAUL GOODMAN ‘Moderato Var. I. — Vigoroso Var, II, Var, Il, ~ Largo Var. IV. — Waltz a : eee atlacea ~PEP = =p = 2. = SBS BE ww es BE KS Ke EF EF =BRL Timpiana by SAUL GOODMAN In Swing tinie-. rome fess 2y ‘i