way the timpanist avoids inuencing the ow of the sound.

There may be
times when it is advisable to keep the sticks near the head, impeding or dis-
torting the sound as it leaves the head. Keeping the mallets and wrists over
the drum after playing a part tends to articulate the passage. The body can
be used in other ways to shape timpani tone. In forte or fortissimo passages
where a roll ends with a distinct stinger, or where an articulated note fol-
lows a roll, it is sometimes helpful for the entire body to rise and fall
slightly and gracefully so the stick is able to create a distinct, articulate
note. In this stroke, the body never leaves the stool; it is simply used to give
the stroke more articulation and color. Stopping the roll a little early helps
the timpanist prepare to articulate the successive note. Brahmss Sym-
phony No. 1 provides a good example (see example 1.4). At M in the fourth
movement (measures 268273), a half note roll is followed by an eighth
note. These eighth notes need to be articulatedespecially the last two
eighth notes on the low G drumand the above technique is particularly
useful in articulating a low G note. See the companion Web site for a
marked timpani part.

1.4. Articulating notes on

low drums

. . .j .j
?c j j

f

Choice of Drums

Timpanists know that the size of drums affects the tone.5 Compared to
smaller drums, larger drums provide more tone color and a fuller, more
voluminous sound. A B played on a 29-inch drum will sound much fuller,
more colorful, and more resonant than a B played on a 26-inch timpano.
Also, the pitch will be focused better on the larger drum because the note
is played on a tighter head. As a general rule, if a note can be played on two
drums (as the B above), play the note on the larger drum. The note will
have a stable pitch and much more tone color. Of course, there are always
exceptions. On the one hand, tight heads produce a more articulate sound;
if a timpanist needs a legato sound, it might be best to use the smaller
rather than the larger drum. Rolls are more difcult to play on a tight head
than on a looser head. When rolling on a low A, it makes more sense to ex-
ecute the roll on a 29-inch timpano than on a 32-inch drumthe roll will
sound more seamless and less articulate than one played on the larger
drum. On the other hand, if an articulate sound is needed, one may choose
to play on a larger drum with a tighter head. A low A is much more artic-
ulate on a 32-inch drum than on a 29-inch drum. Finally, there are times
in which a timpanist may want to play articulate notes on the larger drum
and rolls on a smaller drum with a looser head. Pitching a 29- and a 26-

Theory and Practice of Timpani Tone Production 25