AN ANTHOLOGY OF MELODIES me Pad Ronald Horner :IRI UU UU UU WUT FU UUW UUs VU, }Voge Timusina SD POO AN ANTHOLOGY OF MELODIES yO Compiled and Arranged by Ronald Horner To Stanley Leonard who recognized the potential. Copyright © 2000 MEREDITH MUSIC PUBLICATIONS International Copyright Secured * All Rights Reserved. [No part ofthis hook may be reproduced or transmitted in any fem cor by any means, electronic or mechanical, including photocopying, ‘recording, or by any informational storage or setreval system without Permission in writing rom the publisher RB, MEREDITH MUSIC PUBLICATIONS 4 division oC. Musi, Inc. 44899 Lerch Creek Ct, Gatesville, MD 20765 Inipi//wow.meredithmusiccom MBREDITH MUSIC PUBLICATIONS and its stylized double M logo are trademarks ‘of MEREDITH MUSIC PUBLICATIONS, a division of GW. Musi, tne International Standard Book Nurnber 0.694-02217-2 Printed and bound in U.S.A.CONTENTS Category 1 STEPWISE MOTION (ONE DRUM) Rover Hot Gross Buns Hop Old Squirrel Bring a Torch, Jeannette Isabella ‘Merrily We Roll Along Joshua Muserte ‘Angels We Have Heard On High Animal Fait Theme from Swan Lake Category 2. CHROMATIC INTERVALS Carolina in the Morning, Erie Canal God of Our Fathers Go Team Go Habeitera (from Carmen) Category 3. SYEPWISE MOTION (MULTIPLE DRUMS) Adeste Fidelis ‘The British Grenadiers Carol of the Drum Go Tell Aunt Rhodic Home on the Range If You're Happy Joyful, Joyful, We Adore Thee (Old MacDonald Simple Gifts Category 4 TRIADS Blue Bells of Scotland Anchors Aweigh Alouette Battle Hymn of the Republic Clementine Come, Thou Almighty King Holy, Holy, Holy Lightly Row Li "Liza Jane Little Tommy Tinker Michael, Row the Boat Ashore Skip to My Lou ON OM A eR Ow ERE 10 10 n ll 12 12 13 ore oy M4 15, 15 16 16 vw 7 18 18 9 19 Category 5. MOVING TONE(S) IN COMBINATION WITH STATIONARY PITCHES A Mighty Fortress is Our God Blue Tail Fly Button You Must Wander Camptown Races Good Night, Ladies ‘Nobody Knows the Trouble I’ve Seen ‘Theme from “Sutprisc” Symphony ‘Theme from “Unfinished” Symphony Vive la Compagnie ‘Volga Boatmen Song Gntegory 6 SCALES AND INTERVALS America the Beautiful Aura Lee Chester “Theme from “Emperor” Quartet Frere Jacques Greensleeves Largo (from the “New World” Symphony) Pat-a-Pan Row, Row, Row Your Boat Rule Britannia 20 20 20 a 2 22 22 23 23 24 24 25 25 25 26 26 27 27 28 28 29 29 Category 7 MISCELLANEOUS INTERVALS 30 Amazing Grace ‘America (G Major) Emperor Waltz Four in a Boat Little Brown Jug Lullaby Molly Malone Navy Hymn Silent Night When the Saints Go Marching In America (A Major) ABOUT THE AUTHOR 30 30 31 32 32 33 33 34 34 35 35 36wee we eS ~~ oe Io: Coe re POO OO COLECUCUECCUCUUTY ) 2 ) PREFACE My initial motivation for assembling this collection of music was based upon a simple pedagogical technique used by aural theory and sight singing teachers. Icis easier for students to recognize inaccuracies in their performance of familiar selections than in new or unusual compositions. As I collected these melodies, I became aware of a shortcoming in the instructional literature for timpani. When learning to play virtually any other band or orchestra instrument, the student is presented with common melodies that incorporate techniques to be mastered. While there are many method books that deal with the techniques of timpani performance, relatively few melodies have been arranged for our instrument. The purpose of this collection is to explore the facets of melodic timpani performance. Pedal Technique for Timpani by Stanley Leonard was the book that inspired this anthology. It is strongly recommended that anyone wishing to develop pedal facility familiarize themselves with the ideas presented in that text. The drum identification system employed in this text is the same as that used in Pedal Technique. ‘The largest (lowest) of a set of four drums is referred to as drum one (1). It is presumed that this drum will be placed to the player’s left, in an “American” configuration. The drums are numbered from lowest to highest (I, II, III, and IV). When fewer than four are required, the instruments will be assigned numbers with respect to their position in a standard sct of four drums. a bee ‘These melodies have been grouped into seven categories. Each category focuses upon an interyal type or shared technical problem including: Stepwise Motion (one drum), Chromatic Intervals, Stepwise ' Motion (multiple drums), Triads (pedaled or outlined), Moving Tone(s) in Combination with Station- ary Pitches, Scale and Interval Combinations, and Miscellancous Intervals. The number of instrunients. ‘on which pedaling occurs is usually lower than the total number required. Melodies should be selected. to address specific rechnical and musical problems that the student might be encountering. —RH. ACKNOWLEDGMENTS ‘The author wishes to thank the following for their contributions to this compilation: The Percussion Studios at Indiana University of Pennsylvania and Frostburg State University for their assistance in the development of these exercises. Dr. Gary Olmstead for his advice and support. Alison Welborne and Megan Dunlap for their invaluable assistance in formatting and preparing the collection. PERFORMANCE SUGGESTIONS The music in this anthology provides the timpanist with familiar material to improve pedal facility. The tunes should also be used for solfége practice. Any unfamiliar examples can be sung and checked at the piano before attempting them on the timpani. Intervals can be isolated from these pieces and used to Promote interval recognition. If a melody cannot be sung accurately, it will not be played accurately. Each melody in this collection has been arranged to maximize the melodic potential of the instru- ment while minimizing the physical gymnastics required for performance. Each selection focuses upon @ particular technical or musical issue which is described below the melody. Most of the melodies can : iiibe used to examine more than one aspect of pedal technique. Suggested additional applications are provided in the annotation. Ta some instances, the number of drums nceded can be reduced through additional pedaling. In other melodies, the amount of pedaling can be decreased by reassigning notes to an additional drum or drums. Tuning strategies are suggested for selected exampies from each section. Performers should devise their ‘own tuning arrangements for the remaining melodies. Pitch assignments for each drum given at the beginning of the melody were chosen after consideration of drum range and tuning logistics. The performer is encouraged to experiment with modifications to the suggested tuning arrangement, ‘Some of the melodies in this compilation include tuning of the outer drums. Pedaling on I and TV with regard to hearing the pitches, physical feedback from the heads (the “feel”), pedal travel distances, and the relatively awkward body position required ro perform the tunings. The tuning schemes for these examples were devised to highlight some of these potential obstacles. ‘As a general rule, itis most effective to execute the majority of tuning changes on drums IT and IIT, Physically, this places the player in a comfortable position for getting around all four drums, while ‘maintaining optimum balance. Additionally, it minimizes the possibility of forgetting to do outer drum pitch changes, and decreases confusion as to where pitches are located. Dynamics have been purposely omitted so that students might freely explore their own expressive potential. Likewise, there are no tempo indications. The speed at which these selections are performed Should be determined through consultation between student and teacher, and may be adjusted as technical proficiency is developed. “Throughout this text, a system of lines, brackets, and Roman numerals is employed. Lines above ‘ox below a note leading to a letter indicate a new pitch that the note should be tuned to. A bracket between two notes serves the same purpose. Roman numerals are used to indicate on which drum presents problem: a note is played. Drums and their pitches are displayed in the upper left hand corner of each selection. In the example below, tuning to E flat, A flat, and F flat is indicated on drums I, 11, and IIT. Vis not used. America the Beautiful Samuel A.Ward Regardless of the approach taken to the tuning arrangement, the ranges of each drum and tone quality produced in the various registers should be paramount considerations. NRA eecaceceecnce: racecars ao a ROR RR ee ee ee eNO AAA AAAARAAARARALCar gory I STEPWISE MOTION (ONE DRUM) Rover Traditional English A good beginning pedal study. Stepwise movement and thirds ate found here. Hot Cross Buns @ eo b N ‘Traditional ‘The major third present here can be prepared during the rest. ‘Stepwise motion is the focus. Hop Old Squirrel American Folk Song, This melody includes the interval of a major third, but th stepwise movement (see Category 6). ic primary interest is the descending [orezezezenenerere) 0000S SST TIS SIT TSI O TT 0000 00000000000000000808809226 joe2 THE TUNEFUL TIMPANIST Bring a Torch, Jeannette Isabella (8 ‘The pedaled drum moves entirely by step (see Category 5). Merrily We Roll Along ée ‘Traditional 'As in the previous example, the pedaled drum moves entirely by step (see Category 5) Joshua ée Spiritual Drum I] is moved down a perfect fourth while playing the D in measure 4. However, the major and minor seconds are the center of attention (see Category 5 and 6). NAR AN ARR AAR AAR AAA A AAAN AAA AAA RAD AOOANANNAANAAANAARAAAANRAAAANNADoO oO THE TUNEFUL TIMPANIST 3 Musette re oe The pedaled drum has ascending perfect fourths and major thirds, but the scale patterns are of primary concern (see Category 5 and 6). Angels We Have Heard On High (Westminister Carol) 7 oe ol chp ey Jia errr att acer The main focus of this melody is stepwise motion. Major thirds, perfect fourths, and a perfect fifth are also pedaled (see Category 7)4_THE TUNEFUL TIMPANIST Animal Fair és @ ‘Traditional oom eee om ‘A major third appears between the drums at the beginning, as well as pedaled perfect fourths. Most of the pedaling is stepwise (see Category 7). Theme from Swan Lake Peter Ilyich Tchaikovsky ‘Two triads are outlined in this melody. Although a minor third is pedaled twice, stepwise motion is the primary focus (see Category 4 and 5) AD AAA RAR AAA RADDA A AAA NARA AAR RAR AD OA AADRAARARAAANRADANAARANNAANAAALSCHROMATIC INTERVALS & ) Carolina in the Morning F @ Water Donation mo > mon om m— mt ay a Vv mr Pedaled haif steps on drum III are the center of interest (see Category 5). VECECOLELLLLCULL ELEC ECE CECSCEOOSS 5 5 56_THe TONEFUL TIMPANIST, Erie Canal ee ‘American Work Song Avvariety of intervals are present in this melody, but it provides opportunities to focus on ascending and descending half-step movement (see Category 7). RAR RAR RAD AADD AR ARAD RAD AAR DARD ADA AA ADR ARAARDOANNAAAAESUGGGOessoov Go SSsooe sw STocTotTcoL S cos CECEES JOCLEULELLLLES THE TUNEFUL TIMPANIST 7 God of Our Fathers o @ George W. Warren ‘Some chromatic pedaling is present on drum IIT. Use of the pedal on drum IVis also included in this challenging melody. To accomplish the pedaling requires repositioning the fect in what I call a “body shift.” A body shift involves repositioning the feet and turning the upper body to facilitate striking the outside drums, Body shifts are necessary at the beginning of the second line and in the last line (see Category 7). Go Team Go % This melody includes a variety of intervals and Provides an opportunity to address ascending chromatic movement (see Category 7).8 THE TUNEFUL TIMPANIST Habafiera (from Carmen) Oe ‘The descending chromatic scale is'featured in this melody. Georges Bizet vet atatatatatatatatatatatatatatatatatatatatatatatatatatatatatatatatataratatatatatatatatatatatatatatatatatatatatatala{ weorpenany 2 Ate Or 3 ME STEPWISE MOTION (MULTIPLE DRUMS) Adeste Fidelis C% Wade's Cantus Divers 0 1 ou mE ay og mE 1 ‘This melody relies on stationary pitches and includes a variety of intervals. A pedaled scale passes between drums II and IIT on two occasions, making the multiple drum stepwise motion of primary interest (see Categories 5 and 7). The British Grenadiers GY meena ct m —_ A considerable amount of scalewise pedaling is featured here, sometimes carried over from drum II to drum Il (see Category 5 and 6)10 THe TUNEFUL TIMPANIST Carol of the Drum Co} one ee Katherine Davis hi “This melody provides numerous opportunities to perfect pedaled scale movement between drums II and III (see Category 6). Go Tell Aunt Rhodie oe ‘Traditional In this melody, pedaling of each drum is by step (with the exception of the major third at the end). NAAR ARR AR RAR RRO RR OOD ODO ODD AD ODD DADA DDD DAA DD OOD D AAA ANNA NANAAASVOSS SSS SS 2UVGB99 coccoce REEL HRC IEE MAREE EE EH CEH CSIR E LETC EIE THE TUNEFUL TIMPANIST 11 Home on the Range HO : @ American Cowboy Song D.S. al Fine mp mf Most of the pedal movement in this melody is by'step. If You’re Happy oe = As with the preceding melody, pedal travel is by step.12 THE TONEFUL TIMPANIST Joyful, Joyful, We Adore Three (Ode to Joy) PS ee “The pedaling in this melody is all stepwise (see Category 5). Old MacDonald er a @) @ ‘Traditional Drums [ and II] are pedaled by step on this melody. Performance of this tune requires a different body placement rast the others in this scetion. Pedal travel on the lower drum will also feel somewhat different (see Category 5). DA AR AAD AAR AA RAN AA AAA AAD AAA AAA AAA AAA AA ARR ARRAAAARANAARANAANAANE- THE TUNEPUL TIMPANIST 13 Simple Gifts © Shaker Song, Each pedaled drum moves by step in this melody, with the exception of the third found in line two (see Category § and 6).14 aicnory 4. TRIADS Blue Bells of Scotland Sy In addition to scale passages and a variety of intervals, the F major chord is pedaled on drum II (see Category 6 and 7) Anchors Aweigh 6% eee ‘The F major chord is pedaled on drum II. Other inverted chords are present, and there is some scalewise movement (see Category 3, 5, and 7) SAD AA RADARARDAARADANARARAAANAAAAANAAANAANAG et alatalelalalatalalalalalatatatatatals‘THE TUNBEUL TIMPANIST 15 Alouette O%® French Canadian Folk Song, an a ay ' mt 2 Fine ron om wa 0 It ©. al Fine i D ‘Multiple drum pedaling is present in this melody, and the Bb major triad is prominently presented (see Category 3 and 5). Battle Hymn of the Republic ® Steffe and Howe now rm ay —S a The D major triad is featured throughout this melody (see Category 3, 5, and 7).16_THE TUNEFUL TIMPANIST Clementine Ce American Folk Song Bb and F triads are present in this melody (see Category 5 and 7). Come, Thou Almighty King PS Talian Hymn ‘The A major chord is featured in this melody. Stepwise motion is present in drums II and TIT, along with perfect fourths (sce Category 6 and 7). AR AR ARR ARARARARAARARAADARAAAADAARNNANRAAARARANAAARAAANNAAAANANALpO SOOUUVO SELLLELECELCELLLCEULEOCEEU THE TUNEFUL TIMPANIST Holy, Holy, Holy &% oe The F major chord is prominent in this selection. Pedaling of drums II and III inchides a variety of intervals (see Category 5 and 6). Oe, Lightly Row ee ‘Traditional The Bb chord is highlighted here. Stepwise motion between drums can be found, as can major and minor thirds (see Category 3 and 6). WZ18 THE TUNEFUL TIMPANIST Li’l "Liza Jane oe a “The F major chord is pedaled on drum IT, Some stepwise movement and other intervals are included (see Category 6). Little Tommy Tinker ove — ‘A pedaled F iad is established in the frst three measures of this melody on drum IT, with a descending scale pattern at the end (see Category } and 6). NaN EEN eae ee eae eae a ee eA DAD DAA ON AO AREeet 5 THe TUNEFUL TIMPANIST_19 o > 4 Michael, Row the Boat Ashore ee 3 @ e@ Bahamaian Folk Song All pedaling, including the F chord, occurs on drum II (see Category 5 and 7), Skip to My Lou oe Traditional Folk Song ‘The main focus in this melody is pedalin, 18 of the G major and F sharp diminished chords (see Category 7).MovING TONE(S) IN STATIONARY PITCHES COMBINATION WITH A Mighty Fortress is Our God (Ein Feste Burg is Unser Gott) &%® Marcin Luther ay) a W Bo “The stationary pitches on drums I and IV provide a tonal respite from the extensive pedaling on drums II and IIT (see Cxtegory 3) Blue Tail Fly &%S ervals on drums III and IV. It requites a different any of the other melodies. The low “This melody pedals a variety of int physical positioning in relation to the drums than my G on drum II remains constant, 20 LAA AR ARORA AAAARANE ~ NAR ARR ARR ARAARRARAARAAAARAAAAS C‘THE TUNEFUL TIMPANIST 21 Button You Must Wander OO) e Traditional POO ‘The pedaled notes on drum II move mostly by step. SOUT Camptown Races ® © e ® Stephen Foster OO we UvVvUvVY CULLLY 2 An “A” on each outside drum allows the extensive pedaling to take place exclusively on iP drum III in this demanding melody. cu poeee cease22 THE TUNEFUL TIMPANIST Good Night, Ladies PO%® “Traditional Drums I, Il, and IV remain stationary in this melody, providing an opportunity to concentrate on drum IIT. Nobody Knows the Trouble I’ve Seen Oe) ; oO ® spiritual Pedaling in this melody occurs on drum IT. Drums {, 111, and IV do not change ee eee AD NO OAR AAR AAAASNANEec dee ll Pee THE TUNEFUL TIMPANIST 23 Theme from “Surprise” Symphony @O) : F. J. Haydn This melody includes a quick body shift in line two. Pedaling occurs on the top three drums, but drum I remains stationary, Theme from “Unfinished” Symphony @@) @) @ Franz Schubert This melody uses the stationary notes on drums I and III frequently, but allows the performer to concentrate on pedaling drum II24 THE TUNEFUL TIMPANIST Vive la Compagnie OO pe) French Folk Song ‘Stationary pitches on drums I and IV are used throughout. Volga Boatmen Song OX Russian Folk Song Fine D.C. al Fine ‘Two drums are pedaled simultaneously in this melody that includes a variety of intervals. Drum I remains stationary (see Category 1, 3, and 7). AR ROA RAR atalatatatatal tatatatalatatatatetatalalatatatatatatatatatatatatatatatatatalatatatatatatatatatatatatatatatatatatatatalatafexererenetorerexeneteretd Category 6 ee SCALES AND INTERVALS America the Beautiful Samuel A. Ward Numerous scale passages are mixed with a variety of intervals (see Category 5). Aura Lee & Ce G.R Poulton (American Civil War Song) Seconds and fourths are featured in this melody (see Category 5) 25 a 9 ) > 9 ) ) ) ) ) ) ) )26 THE TUNEFUL TIMPANIST oS Chester @ Revolutionary War Hymn “Ascending and descending scales are present in this melody. The descending perfect fourth requires special attention. ‘Theme from “Emperor” Quartet 6% oe ‘The G major triad is outlined in the third line. Of special interest is pedaling the tritone on drum TTT in. line 3. This melody includes some pedaling of drum 1V (see Category 5) Major and minor thirds are interspersed with scale movement in this melody. FE ct ee ann - PA EROADD ARNON AAND RN AAARARAAAADANAAANANRANAATHE TUNEPUL TIMPANIST 27 Frere Jacques (Are You Sleeping?) Oo French Folk Song ‘This melody focuses primarily on pedaled scale movement, but does include descending ‘major thirds pedaled on drum II (see Category 3 and 5). Greensleeves ©) OQ ‘Traditional English > 7 This difficult melody includes pitch changes on drum I, but focuses on drums I and IIL O Awkward positions and quick body shifts arc required. This selection includes scalewise O movement and thirds. It provides an opportunity to perform a melody in a minor key (see Category 5).28 THE TUNEFUL TIMPANIST Largo (from the “New World” Symphony) Antonin Dvorak ‘The minor third is prominent in this melody. Pat-a-Pan Burgundian Carol Pedaling is limited to drum IJ, Movement is mostly scalewise with some minor thirds (see Category 8). Waletatatatatatatatatatatatatatatatatatatatatatatatatatatatatate RnaAnaannamnnananary‘THE TUNEFUL TIMPANIsT 29 Row, Row, Row Your Boat 6% ‘Traditional Round aire eee ene The pedaling in this melody takes place on drum II. A major third and perfect fourth are pedaled, in addition to scalewise movement, n Rule Britannia o (3) PQ @ English Folk Song n Most of the pedaling in this challenging melody occurs on drum III. However, there is nD also some on drums I and II. SECUCEVELELLESEEa Z Category 7 MISCELLANEOUS INTERVALS Amazing Grace Xe “Traditional Pedaling in this melody occurs on drums I and II (see Category 5). America oe oe int in this melody. The G in measure 6 he D to remain unchanged until the Scalewise movement and major thirds are prese can be raised to a Cin measure 7. This allows t end of the tune. 30 OOOO OOO ROO 5, ne ne. BOO ODM OOCOR OOOO OVO OO OOOO ADOADA vee DADAARRARAAANAANAASecooocun esocuccesp vous euveecesucccye 9 2 2 2 J » J > d THE TUNEFUL TIMPANIST 31 Emperor Waltz, om @® Johann Strauss, Jr rn Ww (6.2%) mt rd body shift 2x) ee ‘The feet should be placed on drums I and IIT at the beginning of this difficult melody. A considerable amount of pedaling on drum Lis necessary, in addition to some pedaling ofeach of the other drums. The feet must be repositioned in the fourth line. Before the second ending, a body shift is needed, and another is required in measure 2 of the second ending.32_THE TUNEFUL TIMPANIST Four in a Boat &e Traditional and minor thirds and scalewise movement comprise most of this melody. Care should Major be taken with the descending perfect fourth in measure 4 if this is done on one drum (see Category 5). OD Little Brown Jug eo © Joe Winner v 0 ad vm ‘A E Begin this difficult melody with the right foot on drum LV. This melody pedals drums Mand IV. ¢ G c ¢ fe fe c He ie ‘ C He c ie C i G c c C C € Cc Cc c C Cc C C C - Cc ¢ C ¢ ¢ é ¢ C ‘ ¢ c € C ¢ c c ¢Lullaby ® Johannes Brahms — D d d 5 THE TUNEPUL TIMPANIST 33 oY ) ? ) d o Pedaling is distributed between drums IT and II¥ in this melody (see Category 5) Molly Malone 2 a ® Irish Folk Song ‘The Bb triad is outlined at the beginning of this melody. A variety of intervals are pedaled on drums II and III (see Category 5) pPOCCSe CS ee eeu vege cucuULLLOUNONO34 _THE TUNEFUL TIMPANIST Navy Hymn @® (Eternal Father, Strong to Save) eo ® John B. Dykes body sift change of drum ‘The pedaling in this melody is concentrated on drums I and II, with one IIL. Though largely stepwise, there is a chromatic passage included. To perform this setting, two body shifts are required as indicated (see Category 5). Silent Night P% Franz Griiber — ‘This is a difficult setting requiring a fast body shift in the last line. Most pedaling occurs on drum ILL, with some on drums II and TV (see Category §). ARAAR RRR ARRAN A i latatatatatatalalatatatalatatatalatatatatatatatatal a a AANARARARAAARAAAAASPPE LEEEECESCCC00056500090090000800000000000000000000000000N THE TUNEFUL TIMPANIST 35 When the Saints Go Marching In Traditional The pedaled triad is the focus of this melody. America Oo e e@ Henry Carey An encore performance ofa previous melody, this version is to be pedaled entirely on drum IABOUT THE AUTHOR ‘ber of the music faculty at Indiana University of Pennsylvania and iIharmonic Orchestra, he has performed and the Middle East with most RONALD HORNER is a mem Frostburg State University. Asa former member of the Israel Phi in the major music centers of North and South America, Europe, major conductors and soloists. Ma Horner holds a Bachelor of Science degree in Music Education from Indiana University of Pennsylvania, a Master of Music degree in Music Performance and an Artist Diploma in Timpant from Duquesne University. He is currently a candidate for the degree of Doctor of Musical Arts in Percussion Performance at the World Music Center of West Virginia University. His primary timpant teachers include Stanley Leonard, Roland Kobloff, and Gary Olmstead. vn addition to his academic responsibilities, Mr. Horner is a member of the Keystone Wind Enscmble, Johnstown and Westmoreland Symphony Orchestras in Western Pennsylvania, and has performed regularly with the Pittsburgh Symphony Orchestra. He isa clinician for the Ludwig: Musser division of the Selmer Company. 36 eee a NAR AR ARR AAR AARADA