AN ANTHOLOGY OF MELODIES Compiled and Arranged by Ronald Horner To Stanley Leonard who recognized the potential. CCopyeight © 2000 MEREDITH MUSIC PUBLICATIONS Taternatonal Copyright Secured» All Rights Reserved. [No part ofthis book muy be reproduced or transmitted in any form ‘or by any meas, electronic or mechanical, incading photocopring, recording, or by any informational storage o retrieval sytem without from the publisher RB MEREDITH MUSIC PUBLICATIONS division of GW. Music, Ine 4899 Lerch Creck Ct, Galevile, MD 20765 pi//wewemeredithmsi com permission in we MEREDITH MUSIC PUBLICATIONS and its stylized double M logo ae trademarks ‘of MEREDITH MUSIC PUBLICATIONS, «division of GW. Masc, ne Intemational Standard Bock Number: 0-634-02217.2 Printed snd bound in US.ACONTENTS Category 1 STEPWISE MOTION (ONE DRUM) Rover Hot Cross Buns Hop Old Squirrel Bring a Torch, Jeannette Isabella Merrily We Roll Along Joshua Musette Angels We Have Heard On Animal Fair Theme from Swan Lake Categiry 2, CHROMATIC INTERVALS Carolina in the Morning Erie Canal God of Our Fathers Go Team Go Habenera (from Carmen) Category 3, STEPWISB MOTION (MULTIPLE DRUMS) Adeste Fidelis ‘The British Grenadicts Carol of the Drum Go Tell Aunt Rhodie Home on the Range If You're Happy Joyful, Joyful, We Adore Thee Old MacDonald Simple Gifs 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 Lil "Liza Jane Little Tommy Tinker Michael, Row the Boat Ashore Skip to My Lou A eee euvow 10 10 ul u 2 2 1B 4 4 6 15 18 16 16 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 “Surprise” Symphony ‘Theme from “Unfinished” Symphony Vive la Compagnie Volga Boatmen Song Category 6 SCALES AND INTERVALS ‘America the Beautiful Aura Lee Chester “Theme from “Emperor” Quartet Frere Jacques Greensleeves Largo (from the “New World” Symphony) Par-a-Pan Row, Row, Row Your Boat Rule Britannia Cazegory Amazing Grace ‘America (G Major) Emperor Waltz, Four in a Boat Little Brown Jug Lullaby Molly Malone Navy Hymn Silent Ni When the Saints Go Marching In America (A Major) ABOUT THE AUTHOR 7 MISCELLANEOUS INTERVALS 20 20 a 2 22 22 23, 23 24 24 25 25 26 26 27 27 28 28 29 29 30 30 30 31 32 32 33 33 34 34 35, 38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. It is 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. Itis 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 (I). Itis 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 ‘These melodies have been grouped into seven categories. Each category focuses upon an interval 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 Miscellaneous Intervals. The number of instruments ‘on which pedaling occurs is usually lower than the total number required. Melodies should be selected to address specific technical and musical problems that the student might be encountering. eames 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. Ifa 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 a particular technical or musical issue which is described below the melody. Most of the melodies can itbe used to examine more than one aspect of pedal technique. Suggested additional applications are provided in the annotation, In some instances, the number of drums needed 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 examples 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 IV presents problems with regard to hearing the pitches, physical feedback from the heads (the “feel”, pedal travel distances, and the relatively awkward body position required to perform the tunings. The tuning schemes for these examples were devised to highlight some of these potential obstacles. ‘Asa general rule, it is most effective to execute the majority of tuning changes on drums I 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 arc 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 or 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 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 E flat is indicated on drums 1, 11, and II]. IV is not used. America the Beautiful Pe oe 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,I PWISE MOTION (ONE DRUM) Categ or Rover eo) ‘Traditional English A good beginning pedal study. Stepwise movement and thirds are found here. Hot Cross Buns ‘Traditional The major third present here can be prepared during the rest. Stepwise motion is the focus. Hop Old Squirrel ®, © 06 ‘American Folk Song, ‘This melody includes the interval of a major third, but the primary interest is the descending, stepwise movement (see Category 6)2_THE TUNEFUL TIMPANIST Bring a Torch, Jeannette Isabella CON 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 “eo Spiritual Drum II 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).‘THE TUNEFUL TIMPANIST 3 Musette (Oy JS. Bach ‘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 AL, (Westminister Carol) Old French-English Melody a alee 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 oe nation = — a — [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 &% set kot ‘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),Categor 2 CHROMATIC INTERVALS Carolina in the Morning P% Mier Donon mo p momeim = mnt an, Pedaled half steps on drum III are the center of interest (sce Category 5).6_THE TUNEFUL TiMPANIsT Erie Canal | &e ee ‘A variety of intervals are present in this melody, but it provides opportunities to focus on ascending and descending half-step movement (see Category 7)THE TUNEPUL TIMPANIST God of Our Fathers &% =o Body sift Boy shift y ‘Some chromatic pedaling is present on drum II]. Use of the pedal on drum IV is also included in this challenging melody. To accomplish the pedaling requires repositioning the feet in what I call a “body shift.” A body shift involves repositioning the feet and turning the upper body to fac ite 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 varity of intervals and providés an opportunity to address ascending chromatic movement (see Category 7).8_THE TUNEFUL TIMPANIST Habaiiera O® (from Carmen) e Georges ‘The descending chromatic scale is featured in this melody.Category 3 ME STEPWISE MOTION (MULTIPLE DRUMS) Adeste Fidelis S% Wade's Cantus Diversi n ia) me am on men ' This melody relies on stationary pitches and includes a variety of intervals. A pedaled scale Passes between drums II and ITI on two occasions, making the multiple drum stepwise motion of primary interest (see Categories 5 and 7), The British Grenadiers m —_, A considerable amount of scalewise pedaling is featured here, sometimes carried over from. drum II to drum III (see Category 5 and 6).10_ THE TUNEFUL TIMPANIST Carol of the Drum ox e Katherine Dai 1 “This melody provides numerous opportunities to perfect pedaled scale movement between drums II and III (see Category 6). Go Tell Aunt Rhodie & &e ‘Traditional In this melody, pedaling of each drum is by step (with the exception of the major third at the end).THE TUNEPUL TIMPANIST 11 Home on the Range DO) @ American Cowboy Song ® DS. al Fine mp mf Most of the pedal movement in this melody is by step. If You’re Happy P&P ‘Traditional ‘As with the preceding melody, pedal travel is by step.12_THE TUNEFUL TIMPANIST. Joyful, Joyful, We Adore Three ©® (Ode to Joy) © Ludwig van Beethoven ‘The pedaling in this melody is all stepwise (see Category 5). Old MacDonald e Traiional Drums I and HII are pedaled by step on this melody. Performance of this tune requires a different body placement than the others in this section, Pedal travel on the lower drum will also feel somewhat different (see Category 5)‘THE TUNEFUL TIMPANIST 13 Simple Gifts DO} ® 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)ategory 4 TRIADS oe Blue Bells of Scotland 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% Miles and Zimmerman ‘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) 4THE TUNEFUL TIMPANIST Alouette © French Canadian Folk Song, n o any ' a Fine 1 oe ea vem ' Boal Fine 1 : ‘> 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 " oko SSS, 2a a ee) nomn tm an SS eee ‘The D major triad is featured throughout this melody (see Category 3, 5, and 7). 15,16_THE TUNEFUL TIMPANIST. Se oe Clementine Bb and F triads are present in this melody (see Category 5 and 7). Come, Thou Almighty King ® Ieaian Hymn ‘The A major chord is featured in this melody. Stepwise motion is present in drums IT and IT, along with perfect fourths (see Category 6 and 7).THE TUNEFUL TIMPANIST 17 Holy, Holy, Holy PQ John B. Dykes ‘The F major chord is prominent in this selection. Pedaling of drums II and III includes 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)18_ THE TUNEFUL TIMPANIST Li’! ’Liza Jane ODOy eo. 6 American Play Song “The F major chord is pedaled on drum II. Some stepwise movement and other intervals, are included (see Category 6). Little Tommy Tinker ove sation A pedaled F triad is established in the first three measures of this melody on drum II, with a descending scale pattern at the end (see Category 1 and 6)THE TUNEFUL TIMPANIST_19 Michael, Row the Boat Ashore OO, : e Bahamian Folk Song All pedaling, including the F chord, occurs on drum II (see Category 5 and 7). Skip to My Lou oe vse The main focus in this melody is pedaling of the G major and F sharp diminished chords (sec Category 7).ategory 5 a MOVING TONE(S) IN COMBINATION WITH STATIONARY PITCHES A Mighty Fortress is Our God. ®© (Ein Feste Burg is Unser Gott) Oa@ Martin Lather c mM mm op vom Ww oppt ‘The stationary pitches on drums I and IV provide a tonal respite from the extensive pedaling on drums IT and III (see Category 3). Blue Tail Fly & iy ‘This melody pedals a variety of intervals on drums III and IV. It requires a different physical positioning in relation to the drums than many of the other melodies. The low G on drum II remains constant 20‘THE TUNEFUL TIMPANIST 21 Button You Must Wander or e Tradvonal ‘The pedaled notes on drum II move mostly by step. Camptown Races &%S —- An “A” on each outside drum allows the extensive Pedaling to take place exclusively on drum I11 in this demanding melody.22_THE TUNEFUL TIMPANIST Good Night, Ladies Drums I, II, and IV remain stationary in this melody, providing an opportunity to concentrate on drum III Nobody Knows the Trouble I’ve Seen ©) Oo @® Spiritual Pedaling in this melody occurs on drum II, Drums I, 111, and IV do not change.THe TUNEE Theme from “Surprise” Symphony EJ. Haydn RRAV REAL ‘This melody includes a quick body shift in drums, but drum I remains stationary. two. Pedaling occurs on the top three Theme from “Unfinished” S: hon’ PX ymphony @ 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 1} ®© French Folk Song, Stationary pitches on drums I and IV are used throughout. Volga Boatmen Song Pe 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).SCALES AND INTERVALS America the Beautiful e Samuel A, Ward ‘Numerous scale passages are mixed with a variety of intervals (see Category 5). Aura Lee Se a (American Civil War Song) Seconds and fourths are featured in this melody (see Category 5). 2526 ‘THe TUNEFUL TIMPANIST Chester OX ee Revolutionary War Hymn [Ascending and descending scales are present in this melody. The descending perfect fourth requires special attention. © Theme from “Emperor” Quartet eo Franz Joseph Haydn Major and minor thirds are interspersed with scale movement in this melody. The G major triad is outlined in the third line. Of special interest is pedaling the tritone on drum TIT in line 3. This melody includes some pedaling of drum IV (see Category 5).THE TUNEFUL TIMPANIST 27 Frere Jacques (Are You Sleeping?) Xe 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 O@) @ ® Traditional English ‘This difficult melody includes pitch changes on drum I, but focuses on drums IT and III Awkward positions and quick body shifts are required, This selection includes scalewise ‘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) e Antonin Dvorak The minor third is prominent in this melody. Pat-a-Pan je oe Pedaling is limited to drum IL. Movement is mostly. scalewise with some minor thirds (see Category 5), ‘‘THe TUNEFUL TIMPANIST 29 & ® Row, Row, Row Your Boat © ‘Traditional Round ‘The pedaling in this melody takes place on drum II. A major third and perfect fourth are pedaled, in addition to scalewise movement. Rule Britannia @) Pe English Folk Song Most of the pedaling in this challenging melody occurs on drum III. However, there is also some on drums I and ILfi Pedaling in this melody occurs on drums I and Il (sce Category 5) America oe = Scalewise movement and major thirds are present in this melody. The G in measure 6 ‘can be raised to a C in measure 7. This allows the D to remain unchanged until the end of the tune. 30THE TUNEFUL TIMPANIST 31 Emperor Waltz PQ, Johann Strauss, J. a Ww (G2), a = = ‘The feet should be placed on drums I and IIT at the beginning of this difficult melody. A considerable amount of pedaling on drum I is necessary, in addition to some pedaling of each 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 TUNE! ‘UL TIMPANIST. Four in a Boat ‘Traditional Major and minor thirds and scalewise movement comprise most of this melody. Care should be taken with the descending perfect fourth in measure 4 if this is done on one drum (sce Category 5). Little Brown Jug &% os 0 m* wv u m ow wm Begin this difficult melody with the right foot on drum IV. This melody pedals drums Mand IV.THE TUNEFUL TIMPANIST 33 Lullaby EPQ © Johannes Brahms Pedaling is distributed between drums II and IIT in this melody (see Category 5). Molly Malone ome : ® 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).34_THe TUNEFUL TIMPANIST. Navy Hymn Eternal Father, Strong to Save) @®, ¢ > » a body sit “The pedaling in this melody is concentrated on drums I and I, with one change of drum IIT. 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 PO%® Franz Griber — This is a difficult setting requiring a fast body shift in the last line, Most pedaling occurs on drum III, with some on drums II and IV (see Category 5).‘THE TUNEFUL TIMPANIST 38 When the Saints Go Marching In o% ‘Traditional ‘The pedaled triad is the focus of this melody. America Henry Carey An encore performance of a previous melody, this version is to be pedaled entirely on drum ITIABOUT THE AUTHOR RONALD HORNER is 2 member of the music faculty at Indiana University of Pennsylvania and Frostburg State University. As a former member of the Israel Philharmonic Orchestra, he has performed in the major music centers of North and South America, Europe, and the Middle East with most major conductors and soloists. ‘Mr. 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 Timpani from Duquesne University. He is currently a candidate for the degree of Doctor of Musical Arcs in Percussion Performance at the World Music Center of West Virginia University. His primary timpani teachers include Stanley Leonard, Roland Kohloff, and Gary Olmstead In addition to his academic responsibilities, Mr. Horner is a member of the Keystone Wind Ensemble, Johnstown and Westmoreland Symphony Orchestras in Western Pennsylvania, and has performed regularly with the Pittsburgh Symphony Orchestra. He is a clinician for the Ludwig-Musser division of the Selmer Company. 36