TONE ANO TOUCH

CHAPTER
Because muslc Is an aural art, lt sta nd s to reaso n that th e qu allty of
TWO sound (tone quality) produced Is of the utmost lmportan ce.
BASIC There are many factors that combine to determine ton e quallty. The
TECHNIQUE quality of the instrument, lts conditlon, the quallty and type of stl ck
and the manner In which the lnstrument Is struck ali play a factor In th e
sound produced. However, dlfferent players uslng the same stl cks and
the same instruments will sound dlffercnt becausc of thelr own concepts
of touch and tone.
Developing a concept of tone and a sense of tou ch Is a long-term
process. It's a process that involves tralnlng thc hand s to rcspond to a
mental concept of tone quallty.
Always think in terms of liftlng the sound out of the drum rather th an
pushing or digglng lnto the drum. Once the head has been struck, th c
stick should instantly be on lts way back up . Otherwise, tone qualíty
will be severely impaired. Think of drawing the sound out of the drum
and letting the head "sing."

PRACTICING
Practicing for tone quality and touch must be done on timpani. The use
of two tom-toms as substitutes does not work. Always tune the timpanl
to the proper notes. If it is possible, practicing in front of a mirror can
help the student detect errors and inconsistencies in technique.

LEGATO STROKE
The best starting point for developing timpani technique is the legato
stroke. (In timpani playing, legato and staccato have slightly different
meanings from those they have for wind and string players. Legato
refers to a full, rich sound, whereas staccato refers to a short, artículated
sound.) In order to achieve a legato stroke one must obtain maximum
resonance from the drum with as little impact or attack as possible.
As a starting point, think in terms of a big, full sound but not specifical-
ly in terms of "loud" or "soft." Use a full, relaxed motion, and let the
stick produce the sound. The greatest resonance is attalned through
relaxation of grip and motion.

30 Fundamental Method for TIMPANI

 ll, find tlw st.1rtin¡.: ¡1',,itt,,n f,, r 1h,· l,•¡.:.tt,> ,tr,,1-.c . ti , ,t
h,,td tlw stkk p.ir.1lkl 1,, th,• drum wtth tlw l>.tll ,,1 thc
,tkk on•r tlw pr,ip,•r lw.1tin¡.: ,¡\\>t 1,,,.
ph,>h> :\ \. :\nt .
u,i1~ tlw wri,t .md 1,,l'\',1rm. r.1is,• tlw ,11,I-. ,tr.1 i¡.:ht lll'
.1h,,ut lll ,,r 1~ indw, ,,ff tlw lw.1d rtu, is tlll' ,1\'111 ,II
,t.1rtin¡.: l'<'Siti<,n \><'<' ph,,1,, Hl . t-;,•,·p in 11t111d t h.lt 111
,,r,kr "' u tili zc tllt' m,1ti,1n ,11 t,,,th tlll' " ·n,t ,llld lh,•
t<>n.\Hlll , tllt' h.rnd m11st h,· .11 .1 ,li¡.:ht ,111tw,1r,l .11 1¡.: i,· t,,
tlw for,•.1m1 r.ithcr th.111 in str.1i¡.:ht .11i¡.:t111\\'llt w11h it
\ St'<? pl\,)1(1 t '\ .

lf e:-.,•-111<-.1 p r,,p,·r!Y. thc str,,k,.• will st.1rt Jnd ,•11-t .lt tlll' ,.11\ll' , p,11 1,,,.
photo P \. : .1l<' r. as ,,n<, h,•¡.:in, "' n,·.11<' str,,k,·, ,,f dith'r..·nt dY11,1mk
le\·,,1s. thc ,1.1rtin,.1; an,! ,•111.fü~ lwiSlll will ,·;m·.
Fr..,m tlw ,t.irtin¡.: p,,int. .llt,,w
th,· stkk t,, ,trik,• thc h,-.1d with
it, t\\\' ll \\' t•i¡.:ht . h1ll,1w th..-
m,,th1n ,,¡ thc qkk w ith th,•
wriq .rnd for,•,nm . l 1,in¡.: tlw
11.11ur.1l l'\'l\\>11nd ,11 tlll' lll',ld ,IS
11t11d1 .1, p,,ssihk . rd11r11 th,·
,tkl-. "' tlw st.irtin¡.: p,,,iti,111 .
i'llt' n.1tur.1I n.•l>,1u1l\l will \ ·.1r, ·
d,·p,•n,lin~ u¡\\lrl tlll' t,·n,i,m ,,f
tlw lw.1d . N,,t,•: tlll' m,,,·,•nwnt
,,t th,• qi(k h 11p .rnd d,,wn .
ll'ith 11\l ,11~~11 /,,r 111,,ri,111 ,

LEGAJO STROKE WARM-lJP PATTERNS

Thc foll,H,•in¡.: p,lltcrn, sh,,11l,I t-...• d,11\l' st,,wl\·. Strin• h>r ,1 t11II .111d 1'\''<'·
nant 1,,nt' . and t,,r ,•, ·,•111w,s ,,t ,,,11nd h,•tw,,•n tlw ri¡.:ht .md ktt h.md,.
R,•mcmllt•r to hr gin w11h l1\\th ,tkk, r.1is,'>.I tlw ,.111w he,¡.:ht .1l><1w th,·
drum and tn l.'nd ,•.1d1 ,tn,k,• in this ,.1m,· p,,,1 : 1,,11. i\1t,,·,· tlll' ,tkl-.,
str.1ight up and d,,wn . r..,t.llin¡.: th,• h1r..-.1m1 tr,1111 tlw wrl,t. P,111 'r /ift tl1c ·
c1n11s ur c111,i .1,,1..,,.
L)n altcrnatc dJ\, . re\·,·r,,• th,• ,tt,·kings ,,n 1,•¡.:.l!l, Stl\>k1• \\',1m1 -l 1¡> l'.11 -
terns ;-.;,,. 1 \ll<.' Xt p.1¡.:c\.
PIJ\' tlwsc p.lltcrn, tl\,111 m,•n\\,n· .md ,,h,,·n ·,· wlwn· ,·,111 .m: ,t ril-.in¡.: th,·
timpan i. lk ,ur..· 1,, ,trik,· tlw lw.1d in th,• l'r,,p,·r pl.1 \•in¡.: .m-.1
- - - - -- - - - - - - - - - - -
 Legato Etude No. 1

;:-¡ F F IF r F IJ J 1.J .J J Ir J

,=F J r J Ir J IJ .J F ' 1F r r .J 1r r F .J 1R R

,=F J F J IF .J .J J I.J .J F .J I.J .J F W

FJ F .J F J Ir F F t IJ r J 1r F F .J

, . F J F IJ J J F IJ J .J IF F F .J I.J .J F F 1

~YF J F I IJ J J F IJ r ·F F I.J F .J F

,. J r r F I J r IJ JJ IF r J J Ir J F ' 11

34 Fu n d a m e n t o I M e t h o d f o r T I M PA N 1
 Legato Etude No. 2

A-E

2·2 j J J J J 1 1
r r ir r r w w 1
1 w w

,. r r r 1
1 rr 11 J I r· 1 w w 1 rrr I J r 1

?· J r I w rr r I w w 11 J r I w w r r I w

,. w w I r w Ir r 1 w r r Ir 1 11 J r

91· w rw r I w I r r 1 1 r r r uuu J I I • 11

Legato Etude No. 3

Sing

Pl ay
A-D

fJt r j Jr J 2
Ir Ir rJJ Ir Jr 1 11
O/ E
11

9· j J j Ir rr IJ r r J Ir r J ! 11
2
11

,.r
E '-. D

j
r J Ir r r J Ir J J J Ir J r 1 11

CHAPTER TWO Basi c Tec hniqu e 35

 Legato Stroke Warm-Up Patterns No. 3

l. 2.

,= •~ r r r r Ir r r r r r r r :111!r r r f4t r=r r rr:-m

R R R R RLRLRLRL L L L L LRLRLRLR

r r r r Ir r r r r r r; :11 ¡r r r r Ir r r r r r m
3. 4.

,=
R L R L RLRLRLRL L R L R LRLRI.RLR

5. 6.

,= r r r r r r Ir r r r r r:1 1:r r r r r r Ir r r r r r:1

R R RLRL R R R I. RL L L LRLR L L LRLR

7. 8.

,= r r r r r r Ir r r r r r:111=r r r r er Ir r r r r r i11
R L RLRL R L R LRL L R LRI.R L R LRLR

,. r u r u Ir u r u =11¡r u r u r u :11
10.

e1 1r
R RLR RL R RLR RL L LRL LR L LRL LR

r u r u Ir u r u :111: r u r u Ir u r u :11
11. 12.

t1·
R LRL RL R LRL RL L RL R LR L RLR LR

u r u :11
13.

,= 1~ r r r r Ir r r r r r r r Ir r r r r r Ir
R R R R R L R L R L R L R R R L R L R R L R R L

14.

,= r r r r Ir r r r r r r r Ir r r r r r Ir
L L L L LRLRLRLR L L LRLR L
u r u =9
LRL LR

': r r r r Ir r u eer r Ir r r r r r Ir u r u t11

15.

R L R L RLRLRLRL R L RLRL R LRL RL

7x r r r r Ir r r r r r r r Ir r r r r r Ir u r u :ff
16.

L R L R LRLRLRLR L R LRLR L RLR LR

36 Fu n d a m e n t a I M e I h o d f O r T I M PAN 1
 Legara Stroke Warm-Up Pattems No. 4
Begin by practicing these patterns i:-- ua ll y. Next , play straight
through the entire page as a single exero,

:,: :.:.:; gg I EI1J EI1J :IIÍ; fJ7J fJ7J I fJ7J fJ7J :11
R L R L etc.

q
#p e. r JICf.ff fI1J :111=a.u
1 4.
;i J 1EEEr -~

·I r Er 4 íJ JIU.U A JJ :111:a.u J JJJI a.u J JJJ :11

5. 6.

7. 8.g g
w+7PJ J J J: 1§73 J JJJ =111=i 1+ J JJ feJI
9
;>= A JJ WJ íJ 1J){j WWWW:111:a.u
10.
IEIIJ + :11

ff
11.
fD] fJT] 1fD] tp] :111 : J j J j
12. w 1 fJ7J w :11

:1: J 3J JEIIJ I fJ7J

13

t.ttfltt:
14 . w rn IJ JJ J r r r r:11

tJ aaI fDJ fJ aa :111: n ann+fffi "

17 18.

±J J ww

19
;1:_ J J J JfPJ I iD] fP] :1 11:
20.~ 00m
.g J) 1 ~~]

CHAPTI R T\\ Q Bas, c Te c hn, qu~ 39

 ROLL PREPARATION

1 •ining of tone on the timpani is actiieved with the roll. The roll
is ¡.i~ :ed by a continuous succession of alternating single strokes.
These l.üokes must be very legato and even, with no feeling of point or
articulation. The objective of the roll is to sustain the vibrations of the
head so that a smooth, sustained sound is produced.
The speed of the strokes needed to produce a sustained sound will vary
depending on the pitch and tension of the head. The higher the pitch,
and the tighter the head, the faster the roll must be.
To obtain a good-sounding roll, avoid the use of hard sticks whenever
possible, since they tend to emphasize the attack of each stroke·. There
will be times when the timpanist will encounter rhythmic passages
mixed in with rolls. In such cases, he or she will have to roll with hard
sticks. In those instances, make an extra effort to relax during the rolls.
Developing the roll should begin early in the study of timpani because it
is technically very important, and it takes a considerable amount of time
to develop a good roll.
Practice the following patterns from slow to fast to slow again, using a
relaxed legato stroke. Be sure to hold the sticks loosely and about 6"
apart. The sounds produced with the right and left hands should be
identical. As the speed increases the stroke height will decrease some-
what, but the volume should remain the same (a result of the extra ener-
gy from the faster motion). Be patient; don't try to accelerate too much
too soon.

Roll - Preparation Pattems

,. r r r r r r r r r r r r r r r
A. Start

R R
Slow_

R R R
- Accelerate •

R R R R R R
. Slow

R R
Down. _

R R
r
R

,. r r r r r r r r r r r r r r r
B.

L L L L L L L L L L L L L L L
r
L

c.
?·
r r r r r r r r r r r r r r r r
R L R L R L R L R L R L R L R L

42 Fu n d a me n t 11 1 Met ho d Io r T I M PA N1
l.

v: i,: r EF r r r r 1CECFCEEr=c CT7 te : (ªJI

R R R R R R R R R L R L R L R L R L R L K L K L

2
-y:(! .
1
L
r r r r r r r Ie ee r e e e r e arcrcrI1
L L L L L L L L R L R L R L R L R L K L K L R

3.
t}B
E
R
r L
EFE
R L R
r
L
E F
R L
lee e F e EE F Ee E r=ccq~II
R L R L R L R L R L R L R L R L

4.

F lq e e F e e EF E E E F ccmrBI
7J= c
rr r F
L R L R
E
L
r
R
E
L R L R L R L R L R L R L R L R L R

,= n ELf
R R R R R R
UJ I CL"F" FF"CFC F=III=CU tu I FFCCFFCFCCC HI
RLRLRLRLRLRL L L L L L L LRLRLRLRLRLR

L
2=n E.U CU I F"FCFFC"FFCF =111=CU CU I CFFCCFCCCFFr' =II
R L R L R L RLRLRLRLRLRL L R L R L R LRLRLRLRLRLR

JQ

~: e F F F F I Cr E F E E CF=III=F F F F I CCCF E E E F=11

R R R R RLRLRLRL L L L L LRLRLRLR

1 J. 12.
?=,e F • 1 F F I CE r F E CE F=111= F F F F I E CCF E CCF=II
R L R L R L R L R L R L L R L R L R L R L R L R

CHAPTER TWO Basic Tec hnique 43

 ,-3--, ,-- 3 --, .-- 3 ----, ,--3--,
13.

~! ·~ r r r r le E r E E r E E r E E r -11
R L R L R L R L R L
R R L
R R R

,--3-. ,--3--, r--3----, ,-- 3 --,

r r e e r e e r -11
14 .

¡.2=•~ r r r r le E E E
L R L R L R L R
L L L R L R
L L

,= .~r ,--3--, ,--3---, ,--3-, .--- 3 -----,

r
15 .

r r r le E re E e E rR
E
L
e r -11
R L
R L R L R L R L
R L R L

,= .~r ,--3 - , ,--3 ---, .--3----, . - 3 ----,

16.

r r r le E r E er e e r e e r -11
L R L R L R L R L R L R L R
L R

The previous patterns should be practiced on each drum and at various

pitches to develop a sensitivity to the response of the sticks on heads of
various tensions.

INTRODUCTION TO DOUBLE STROKES (DOUBLE-STICKING)

Hand-to-hand sticking serves as the foundation for playing the timpani.

However, because of the endless possibilities of varying rhythmic pat-
terns, in different combinations with the number of drums being used,
playing hand-to-hand is not always either possible or practical.
Often, to facilitate moving from one drum to another, the use of a dou-
ble stroke (playing two consecutive notes with the sarne hand), makes a
passage easier and more fluid . Particularly at moderate and slow tem-
pos, the double stroke may prove more efficient than crossing one hand
over the other or the use of awkward shifting. Doubling keeps the sticks
and hands in a good playing position. Occasionally in very fast and
loud passages, cross-sticking will work better than the use of double
strokes. Cross-sticking will be discussed in more detail later in the book.
Remember that double strokes are two identical strokes played with the
same hand, not to be confused with the rebound double stroke used in
snare-drum technique.

44 Fundamental Method lor TIMPANI

 Elementary Double - Stroke Warm-Up ~º· 2

,.g
l. 2.

r· J. Ir p J J1 ·111· F p F p 1J j} J j} =11
R L R R L L R L R R L R L L

,.g
3. 4.

E E F J J, IE E F J
R L R L R R
J, ·111· F p J J J Ir p J J J ·11
R R R
L L L L L L R R L R L

Elementary Double - Stroke Etude No. 2

,·ar·
A-D

J. 1F p J J, 1ELJ J J J I F p J ;, 1F p F p 1
R L R R L L R R R L L R L R R

,. !i!2 ;t, 7!i! J). 1 tu

L R L L R
JJ J J J1J I y I J p J ;, tu
L R L L
1

R
cu 1

~· ;,r p JJJJ ;,r p J pJ

F F F J,r .P
1 ;, 1 ; , 1 • 1
1
R L R R L R L R R L R L L R

tl· FJ J J "1. ;:3)

- !i! J?? Ir
:= J
!i! ;, 1 tu Ql I F ;, F p1
R
R R L L R L R L R R

~· J J1E E F IJ J, E J J
E F IJ EEF J J J F
y
1 11
L L R L L R

46
Fund a mental Meth o d f a r TIMP A NI
 SINGLE-DRUM ETUDES

Etude for the 26" Timpani

Sing
11 e 11 e
:,: 11 e 11
11

Play C/ 0
:,= «e J J j ¡J B j ¡J J J J J J ¡J B J l 1

D/ E
,= •
1
F 1
r r r r r uur 1'ELJF • 1
1

E/F
1
1 r· Dr r Iu r , Dr Iu r rr r r I r· Dr 1
1
1r r , eer ir , ou r 1, re r r r
F'-..E
.:t:
,
u y
or 1 1 1 1
1F u y
D r 1y [U y
[U 1
E '- D
•l:
,
r· D !/
D r 1 ! u F ! 11
p 1

,. u r ' r u u r cu r
D, C
11 1"
1 1
1

,. J 1 1 B 1J t B J ¡J. B1B , J1J , 11

• The number of bars of rest has been left blank. At first, take as much time as is necessary to be sure of the next
note. After you become more comfortable, designate a specific number of bars between tuning changes (the same
number of bars each time), so that you make the tuning changes in rhythm. As you become more proficient at
playing the exercise, reduce the number of bars, but always use the same number of bars consistently throughout
the etude.

CHAPTER TWO Basic Te chnique 47

 Etude for the 29" Timpani

Sing

e e 11 11
e 11 e

Play G / A*

2=1 J. IJ J IJ fil J IJ 1 1 1
1
11 J J J
A/B

,. JJJJJJIJ JJJJIJ 1 1 11 11J. JJJ1J w n1

B/C
,-J J ,)'J1nJ ! 11 11J J J J J J 1, J J J J J 1

n
C 'B
J J J J IJ J ! 11 11 w fil IJ. ))J

n ;u n ¡
B'\.A
,. J n,Ji1JJJJJ 11 11 y ;,w 1, 1

,. n A'-G
, 11 1
1w , n Iw y ; n I w w w w wI w , , 11

RIGHT-HAND MOVEMENT BETWEEN DRUMS

This study focuses on the movement of the right hand between two
drums. The left hand remains on the 29" drum, always striking in the
left-hand beating area. The right hand moves between the two drums,
always striking in the right-hand beating spot of both drums.

48 Fundamental Method for

----------
TIMPANI
j

1
1
1
1 Right - Hand Movement between Drums Etude
A-D

1a JJ 1a Ju a J 1J a aJ a a,
1
1
·x «~ n Ju
¡
·>= n Ju J a aIaa an JJ In JJ a a1 a an JJ ,
l •J JJJJfJJJ 1JJJJfJJJ IJJJJJJJJ 1fJ J) JJJJ i
]

J ,=/J J] A JU IJ J J J JJ J J1/J JU J J J JIJ J J J .g JU 1

~t A JU J J J JI fJ JU J J J JI J J J J J J J JIJ J J J fJ J] 1

~;l= J J J J fJ JJ IJ J J J fJ JJ IfJ JU J J J Jí J J J J /] JJ 1

9: J j J j J J J J ¡J J J J J J J J ¡J J J J J J J J ¡J J J J J J J J 1

,= a aa a auIa aa n a1 J 1 J u ar , 11

CHAPTER TWO Basi c Technique 49

 Later, fo~ add itional p ractice, the
previous ·e tud e may be playe d by
assigni ng the A to the 32" tlmpan i
and the D to the 26" timpani, thus
requiring the right hand to move a
greater distance.

LEFT-HAND MOVEMENT BElWEEN DRUMS

The next study focuses on the movement of the left hand between two
drums. The right hand remains on the 26" drum, always striking in the
right-hand beating area. The left hand moves between the two drums,
always striking in the left-hand beating spot.

Left -Hand Movement between Drums Etude

rrrr J.J .J .J rrrr J.J .J .J J.J .J .J J.J ] .J J.J ] .J

A-E

~J= ce J.J .J .J I I I 1

L R L R etc.

!'in F 11 nrlAmP.ntal Method for TIMPANI

,. j .J.J.J J .J.J.J ¡J.J I.JJ.JJ.J1J.J.J.Jj.JJJ1JJJ.JJ.J.J.J ¡

t>· J .J .J :J J :J J:J Id :J :J :J J .J J:J ¡J :J J.J J.J J .J Id .J J :J d.J :J .J 1

,. J .J J :J J:J .J :J I J .J J :J J.J :J .J I J:J :J .J J .J J .J I r rr r J.J :J .J 1

tJ: J .J J.J r r r r1d J JJ rr r r1d J J.J d J J.J 1J .J J .J r r r r 1

Later, for additional practice, this exercise may be played by placing the
E on the 26" timpani and the A on the 32" timpani, thus requiring the
left hand to move a greater distance.

CHAPTER TWO Ba si c Te c hniqu e 51

 DYNAMIC CONTROL
Playing with . 1ropriate degree of volume is of the greatest impor-
tance to the per. er. Being able to play with a good touch and sound
at all dynamic levels, from the softest to the loudest, requires diligent
practice. Standard dynamic terms commonly used in music are:
flPP pian ississimo ..... ..... .extremely soft
1'1' pianiss imo ...............very soft
p piano ..... ... ............. .. soft
ap mezzo piano ........ ....moderately soft
-., mezzo forte .. ....... ..... moderately loud
f forte ........................ .loud
.lf fortissimo ....... .........very loud
.tJ:f fortississimo ............ extremely loud
> accent ................. .... .to give a note special emphasis;
i.e., to play the note slightly loud-
er, with additional point
crescendo ......... .. .. ....to get gradually louder
diminuendo .... ........ to get gradually softer

Remember that dynamic proportions are relative and cannot be mea-

sured in decibels the way that pitch can be measured in vibrations. p in
one situation will not necessarily be the identical level to p in another.
The context and function of the passage have much to do with the actu-
al leve! of sound.

DEVELOPING DYNAMIC CONTROL

The motion of the wrist and forearm remains basically the same
throughout these exercises, but the amount of motion and the size of
the strokes will vary in relation to the volume. Louder notes will require
a bigger stroke, whereas softer notes require a smaller stroke.

Dynamic Control Exercises

l. a. R H alone Slowly

b. L H alone
rrr rrr rr r r r r r r r 11

2.
f ===========~-- p f

''•~cccrr l ·>
z. ·>
z. •>
z. .,.
•> ·>
z.
=11E EE rr l
p ntp nrf nrf
a. RL R L R
f ntp p
R L R L R etc .
b. L RLR L L R L R L etc.

52 Fu n d a m en t a I Met hod for T I M PAN 1

 --
3. a. R R R R R R L R L R L R L R

Ir t Ir r r r r r r fil=r 11
b. L L L L L L R L R L R L R L
p-======== f p f
4. a. R R R R R R L R L R L R L R

• ,=e F F F F Ir t Ir r r r E E E F Ir t 711
R L L

f ========---
b. L L L L L L R L R L R
p f p
•

r -t=4
5. a. R L R L R L R L R

: ,=•errrr
R

1 z;: 1FFFFI z;: 1Ef.UEf.ff I z;: z1 1 :11 ---

b. L _ _ _ _ _ _ _ _ _ LRLRLRLR L
p -===== 1 ====== - p --====== 1 ====-- P

• 6. a. R R L R L R L R L R L R L R L R L R

: ,= e r F F F IF r F F I rErFrrCFI ErEFEEEF 11F '

• b. L _ _ _ _ __ _ L R L R L R L R L R L R L R L R
=
L
11
p f p f p

-
,=,e r F FF
7. a. R R L R L R L R L R

1 ,. Ir r FF1 ,. 1Ef.UEf.ff1 ·""

z. 1 z;: =11F t 1
. ::, .::, .::,
z;

b. L L R L- R L R L R L
f p f p f
8. a. R R L R L R L R L R L R L R L R L R

, =,e F F F F I F F F F I EEEFEr r rI ErEr EEEr=11F ' 1

----===== f =====- -====== f
b. L - - - - - - -

==:==--
L R L R L R L R L R L R L R L R L

f p p

a . R L R L etc.
9. b. L R L R etc.

,= 1r r r r r r r Fr r r r Ir r r r r r r r r r r r=11r ' 1
p nrp mf f mf nrp p

a R L R L etc.
1o. b. L R L R etc.

7i: 1EEEFEEEFEEEFIEEE EEEFEEEF=II r r ' 1

P- ========= f ==========~- p

CHAPTE R TWO Basi c Te c hnique 53

 MUFFLING (DJ\MPENING) THE TIMPJ\NI*
.
•
The natural sound L mpani is vcry rcsonant and ringing. Much of
thc time this is favor.: , and allowing the drums to "ring" enhanccs
the timpani sound .
Most timpani parts are imprccisely notated, and do not give an accurate
indication of how long the drums should be permitted to ring freely. In
fact, lf the performcr were actually to play the part exactly as written,
the overall results would gcnerally be quite unsatisfactory.
The duration of timpani sound dcpcnds to a great extcnt upon what the
ensemble is playing and the performcr's judgment. Often, note values
indicate more about the type of stroke or touch than about the length of
the note. For example, an eighth-note is often played with more
"point" than a half-note, but not necessarily shorter.
There are instances when the
resonance must be controlled
and the ringing limited to cer-
tain rhythmic durations. Stop-
ping the vibration of the head
after it has bcen struck is called
muffling or dampening. This is
accomplished by maintaining
the basic grip of the stick with
the thumb and first finger
while extending the last three
fingers of your hand and lightly
pressing against the head with
them (see photo) . This will stop the head from vibrating. Muffle close
to where you strike the drum.
Be careful not to slap the head with the fingers thus producing an
unwanted extraneous sound. Instead, try to lay the fingers gently on
the head. A quick roll of the fingers in rapid succession, making contact
with the head one at a time, can help minimize the slapping sound.
Sorne also find it useful to use a sweeping motion across the surface of
the head to minimize contact sound. Press just firmly enough to stop
the sound, but no harder. In soft passages it may even be possible to
dampen by pressing lightly with only one finger.

• Note: The terms muffling and dampenlng have been used lnterchangeably for years,
an~ to mo~t timpanists they both mean the same thlng. Many newer books are using
stncter defmltlons of the terms: that Is, dampening has to do with stopping a drum
head's vibratlon by applying finger or hand pressure to the head after the drum has
been struck, whereas muffltng pertains to placing a cover or mute on the surface of
th e drumhead to dry the lnstrument's overall sound. The term muffling seems to be
more _commonly u_sed in the everyday jargon of tlmpanl players when referring to
stoppmg the vlbrations of the head with the fingers or the hand.

60 Fundamental Method lor TIMPANI

When possible it is best to play with one hand and dampen with the
other hand. However, there will be many occasions when one must
dampen with the same hand that struck the drum (see photo A), as well
as occasions when one will have to muffle two drums simúltaneously
(see photo B). Often two drums must be muffled even though only one
drum was struck, to prevent the drum that was not struck from vibrating
sympathetically.

Deciding when to muffle is generally left to the performer's discretion.

Always listen carefully to both the music and the ensemble, and allow
your ear to be the best judge of when to muffle. Remember, a written
rest does not necessarily mean the drum should be muffled. Knowing
when and when not to take notation literally comes with experience
and listening to the music.

CHAPTER TWO Basic Te chnique 61

 PRELIMINARY MUFFLING EXERCISES
Play Excrclse A by flrst strlklng the notes wlth the rlght hand and ¡nuf-
fllng wlth the left hand, then reverslng the procedure (strlking the notes
wlth the lcít hand and muffling with the rlght hand) .

Bxercise A
IJ
l

@ ,11 i 1 J l IJ1., l 11

In Exerclse B, muffle wlth the same hand that plays the note. (The right
hand wlll muffle ali C's, and the left hand wlll muffle all G's.)

Exercise B

%t 11
10 J.
1 t J.
1 t 1
j 1 :l

,1J ., - 1 J. ., - 1
j l 1 Jt 1J l+1 t 1J,Y t 11

Keep in mind that these are exercises for developing muffling technique,
and ali note values are to be played as notated.

Elementary Muffling Exercises

R = R.H. Stroke ® = Muffle with the R.H.
L = L.H. Stroke © = Muffle with the L.H.

m @
t
R

j t
@
R

1J t
@
R

j t
©
R

1J t
@
R

j t
@
R

1J t
©
R

j t
©
-11

2. R R R R R

, =1 j
R R R

t j t 1J t j t 1J t j t 1J t j t -11 41
® ® ® ® ® ® ® ®
41
41
3. L L L L 41
, =1 J
L L L

=I
L

t J t IJ t J t IJ t J t IJ t J t 41
® ® ® ® ® 41
® ® ®
41
41
82
41
Fundamental Method 1 o r TIMPANI
A

•
4. L L L L L L

~::t: rr J J t· 1 J l J t ~ª11
© <D © <D

~--=::
L R L R L R L

1 J tg¡J i J 84-J J ,==1=J

® <D ® © ® ©
R R R R R R R R

~~,==d+RS Pd
6.

Id @d±REd@
L L L L L

t d+BII
® ® ® ® ®
© © © © ©
7. j R R R R R R R

fM l J t IJ t J 1 1J t J t I J 1 J t -11
© © ©
L L L L L L L

J t IJ 1 J t 1J 1 J t I J 1 J t -11
® ® ® ® ® ® ® ®

9. j
R L

j
L R R L R L R L

tl1 IJ J 1J j j t IJ J J t -11
® ®

Oftcn a timpanist will dampen the note that was last playcd on one
drum at the same lnstant that he or she strikcs a note on anothcr drum
(see photos bclow). This kecps the sound from the flrst drum from
lntcrfcrlng wlth the sound from the second drum. In thls situatlon the
note struck first Is usually dampcncd by the same hand that playcd it.

.
i
1
j
L~

CMAPT[R TWO B11sic Technlque 63

 Muffling Exercises (Continu~d)
R L R L R L
10.

,= 1 J__
R L

J 1 j__ J 1 j__ J I j__ J -11

R L L R R L L

J¿ 2JJ J
11. R

, =1 j J 1J J -11
®

L L R L
12 _ R L R R

fJ= t j ___ J IJ ___ J IJ J 1J J 1

® ®

R L R L R L R L

J 1 1 ¾' 'f 1 J) Í/ l
\
r.:i:
< l l J---1J(9 l l J I J) '/ --k-
1 j) 'I -11
-© ® ® ---(9 ® (9 ® @

13 L R L R L L

"t .t__ ¾4!- 4!

R R

l J--QJJ l J s 1
© ® © ----

L R L R L R L R

J 4Q)Y J) "! J) '1

\ \
2· l l 4JJ ! ! ! l ! !
"--® © ® (9
1 Ji (9 "! -11
®© ® ®

R L L R
14. R R

~=1J
L L

> J
--:::::::_ ®
©
! 1 J
-- ©
J !
®
1 4- : : : : : ®J l
©
1 J
--CD
J !
®
-11

On occasion sorne composers notate muffling to be executed in a specif-

ic rhythm, but this is rare. X's are usually used in place of note heads to
indicate when to muffle the previously played notes.

1 J. 1rJfJt; J4 l g
64 F undam e ntal Method l o r TIMP A NI
 Muffling Etude No. 1
Moderato

, :1J. t IJ t J Ir· t Ir t r IJ r rt
A- E
1 2t 1 'I ;,, J i·3
f

, : ., pl rl I J l J 1 11 J l J 11
p
r I r r I r 1 1nI n1
I
cresc.
1

Muffling Etude No. 2

Moderato
G-C (9 @ (9 (9 @ @ @ (9 (9 @ (9 (9 @ (9
L.
2] J'v J''i J''l J) y J)y )i J)i J)i J,Y ),Y j,'l ]1'1 J)y ],'1 J''l l
L. L. L. L. L. L. L.
I I 1

R R R R R L R L R R R R R L R
rrr/

· -y: .J) y , Ji J) y '/ ]! 1 , .G J J '/ Ji JTI '/ J J J 'I J, J , J1

1 '/ 1 'f 1
f p

CHAPTER TWO Basic Tec hnique 65

 Preliminary Staccato Exercises

l.

:r" r r Ir
R
r
R
Ir
R
rR
Ir
R
r
R
-11
R R

2.
!)=e
r r Ir r Ir r Ir r -11
L L L L L
L L L

3.
!)=e
r r Ir r Ir r Ir r -11
R L R L R L
R L

4.
!)=e
r r Ir r Ir r Ir r -11
R R R R R R R R

,= ., r
5.

r Ir r Ir r Ir r -1
L L L L L L L L

6.
,=e Ir -11
r r r Ir F Ir F
l
R L R L R L R

Ir F F F 1cw cw Ir F Ir F r r 1 t.ttt t.ttt

7.
,=e
r r
a. R L R L etc.
= 11
b. L R L R etc.
8.
,= ., r r r r lt EE r E E E F tttrtttrtttrttt~
1 1

a. R

,. F F F F le
L R L R L etc.
b. L R L R L R etc.

- -
E E F E E r F eeereeereeereeer1
'
1
=

80 Fundamental Method for TIMPANI

 Staccato W arm-up
Articu .. ; every note very clearly and evenly.
l. 2.

~1= 2E E E r r IJ J J J J =111= qer f J jj JJJf -11

,. j J
3.
JJJ
R L R L R

1 ; ,,
L

J j)
R L R

f
L

4.

=111=
L

JJj j J
R L R L

IJ
R

j JJ
L R L R

-11

,./4 J J
1
R L R L R L R L R L L R L R L R L R L R
5. - 6.
j IJ JJJ JJJj f lj,, J j J
f =111=

,.J j
-11
R L R L R L R L R L R L R L R L R L R L
7. 8. J
j j
F Id j J j J =111= J j j j
r ¡j Jj j J -11

,.;:j J J
9.
L

R
R

L
L

R
R

L
L

F
R
Id
R

J 111:J j J j r ¡j J j J J
L
L

j j j
R
R

L
L

R
R

L
10.

R
R L

L R
R L

L
R

R L
L R

R
L

L
R

R
L

L
-11
11. 12:
J j J j J IJ J j J j j
J
2·
R L R
F J j J ¡j j J j F
L R L R L R L
=11 1=
L R L R L R L R L R
· 11
13. 14:
JJj j j J j j j JJj J
IJ J F Id
,
•): j
a. R
F L R L R L R L R L
=111 = J -11
R L R L R L R L R L
b. R R L L R L L R R L R L L R L L R R L R

Staccato Etude No. 1

Allegro
G# - C#
!1=,e #J B#J
f L

t)= #J nJ 1#J n J J J J #j #J .J J .J J u¿;J J J J 1 I 1

ay: #@ J Y] J 1#] #.J J .J J L

J
L
1 #j
R
#p J JJ #.J ,J .J j J 1 J
,= 1~.J .J .J .J n J 1#J J Jíl J J 1.w n w J J J 1#.J .J .J J J+H
CHAPTER TWO Basic Technique 81