WODERN METHOD FOR TYWPANI

SAUL GOODMAN
Solo Tympanist, New York Philharmonic Symphony Orchestra,
Instnictor of Tympani and Percussion,Juilliard School of Music, New York.

SAUL G O O D M A N
Young in years but a veteran in every manner of percussive musicianship, Saiil Goodmnn 1x1s been solo tymp:iiiist
with the N e w York Pliilharii~oriicSymphony Orchestra sinct 1926. As a member of this farnoiis niiisicnl organization
he has played untler thc world's foreri-iost conductors, being a rnember of tlie orchestra during the decade that the
renowned Arturo Toscanini was its maestro.
Composer of many solo works for tympani, Mr. Goodrn:tn played the first performance of a tympnni concerto
to be broadcast. Bcsides the N e w York Pliillinrmoiiic Syinphony Orchestra, h e has appcared witli niiincrous radio
orchestras, in motion picture prodiictions 2nd with sympliony orchestras whicli liave recordcd for Columbia, Victor
and Decca records.
A native of New York City, Saul Goodnian studied Tympani under Alfred I'ricse, wliom he succeeded as
Tynipanist of the New York Philharmoriic. In aciditiori t a liis curreiit playing ;ictivities, lie is a meniber of the faculty
at the Juilliard Scliool of Miisic where lie tcacl-ies tyrnpani aiicl pcrcussiori. H e is nlso a visiting professor of tympani
and percussion a t the Conservatoire Du Musiq~iein hlontreal, Canada.

Copyright 1948 by Mills Music, Inc., New York, N. Y.

International Copyright Secured Made in U.S.A. All R~ghtsHeserved
 CONTENTS

Introduction ... 3 The Grace Note or Appogiatura ............................................................ 42

The History of the Kettledrums............................................................... Counting Rests 44

Various Types of Tympani (Foreign Types) .............................. 4 SECTION T W O - Exercises For the Development
Various Types of Tympani (American Types) ....................... 5 of Technique on Two Drums................................................... 46

Valuation of Notes and Rests..................................................................... 6 SECTION THREE - Three and Four Drum Tech-
. .
Terms, Abbreviations and Signs............................................................... 8 nique ............................................................................................................ 61

Three Drum Exercises....................................................................................... 62

SECTION ONE - Fundamentals....................................... 9
Four Drum Exercises 67
Tuning Designations ...................................................................................... 9
Technique with the Pedal Tympani ..................... 69
Foreign Terms Used T o Indicate Notes T o Which the
Tympani are T o Re Tuned ..................................................................... 9 Five Drum Study 72

Accidentals ............................................................................................................. 9 SECTION FOUR - Repertoire for Tympani............... 73

Care and Maintenance of the Tympani............................................. 10 Symphony N o . 101 (Haydn) ................................................................. 73
Type of Tympani Stick T o Be Used ...................................................... 10 Symphony N o . 5 (Beethoven) .............................................................. 76
. .
Sticks For Specialized Use.............................................................................. 11 Symphony N o . 7 (Beethoven) ............................................................... 80
Method of Tucking the Tympani Head ............................................. 11 Symphony N o . 9 (Beethoven) ............................................................ 84
Range of the Tympani ....................................................................................... 12 Symphony N o . 4 (Mendelssohn-Bartholdy) .............................. 90
Tympani Sticks ..................................................................................................... 13
Symphony N o . 1 (Brahms) 93
Training the Ear in Preparation For Tuning the Tympani 14 Symphony N o . 4 (Brahms) ........................................................................ 98
Tuning the Tympani.......................................................................................... 16
Symphony N o . 4 (Tschaikowsky) ...................................................... 103
Tuning With the Pedal Tympani ............................................................ 17
Symphony N o . 5 (Tschaikowsky) ...................................................... 109
Method of Changing the Pitch of the D m s From Inter- . .
Finlandia (Sibelius) .......................................................................................... 117
vals Alreadv Established ............................. ............................................. 18
Funeral Music (from "Die Gotterdarnmerung")
Method of Changing the Pitch of the Drums From the
(Wagner) 118
Fixed Note A ...................................................................................................... 18
Symphonie Fantastique (Berlioz) ......................................................... 119
Arrangement of the Tympani 20
Till Eulenspiegels Lustige Streiche (R . Strauss) ........................ 120
Holding the Sticks................................................................................................ 21
. . Schelomo (Bloch) ........................................................................................ ,.l23
Striking the Tympani 22
L'Oiseau de Feu (Strawinsky) 124
The Proper Method of Execution............................................................ 22
Concerto for Violin and Orchestra (Hindermith) .................. 126
Moving From one Drum to Another .................................................. 24
A Stopwatch and an Ordnance Man (Barber) ........................... 127
The Roll 26
William Billings Overture (William Schurnan) ..................... 128
Muffling the Tympani ............................................................................... 31
Fugue in C Minor (Bach-Mitropoulos) ............................................ 128
The Loud Roll ...................................................... . 33
Symphony N o . 3 (William Schuman) ................................................ 129
The Forte Piano ( f p ) RolI......................................................................... 34
Dynamic Contro1 ...... . 35 American Salute (Gould) ............................................. .............................. 130

Cross Hammering ............................................................................................ 36 Theme and Variations (Gaodman) .................................................... 131

Staccato Technique . 40 Timpiana (Goodman) .................................................................................. 132
 Introduction
The purpose of this book is to present in a progressive sequence, the rnaterials which are necessary for the training
and development of the modern Tyrnpanist.

The book is divided into four sections as follows:

Section 1. The fundamentals of Tympani.
Section 2. Graded exercises for the developrnent of technique o n two drums.
Section 3. The technique of three and more drums, and technique with the pedal Tympani.
Section 4. Orchestra1 studies and solos.

The development of the Tympani has progressed by leaps and bounds during the last twenty years. In addition
to the many complex rhythrns of modern cornposers, the tympanist is now confronted with every conceivable type
of effect, as a result of the free use of the pedal drums and the dernands made on the player by both cornposer and
conductor. It is apparent that the rnodern tyrnpanist must be a good musician.

The satisfaction of being a proficient Tympanist is without equal, for the Tyrnpanist's position in the orchestra
is unique. In fact, he is often called the "Second Conductor," for no other instrument has the range of dynamic
power which the proficient Tyrnpanist controls so precisely.

The rnethod of playing no othcr instrurnent in the orchestra has caused such controversy as the rnethod of playing
the tympani. The rnethods ~isedin playing it are as rnany as there are players. Certain similarities do exist, of course, but
actually the rnethod used is as individua1 as the player himself.

Whether or not one agrees with any particular system, the irnportant thing to remember is the results obtained
with it. The rnethod used by the author has achieved results of the highest order. In the following pages it will be
developed so that the student will have a rnost complete and orderly conception of the Tympani.

The History Of The Kettle Drums

The first record of the use of the kettledrums goes back to ancient tirnes when it is known that they were used in
religious cerernonies by the Hebrews. Whether the kettledrurns of this period had any definite pitch is not recorded.

The word tympanum cornes from the Greek which means to strike.

In ancient Persia the kettledrums were used to hunt wild birds, the violent striking of the drums causing the
birds to fly about enabling the huntsmen to shoot thern down.

The glarnorous period of kettledruming existed during the middle ages when kettledrummers formed themselves
into a guild, the entry into which called for a long period of apprenticeship. At this time the most honorable privilege
of the kettledrumnier was to participate at the tournarnents of the knights and nobles.

During the seventeenth century kettledrums received their first musical distinction by being used with the
trumpets to punctuate the tonic and dominant of the key and to give rythrnical support to the music.

Beethoven was the first composer to radically change the tuning of the drums by startling the musical world
with the tuning of the drums in octaves in the eighth and ninth syrnphonies.

Hector Berlioz realized the further possibilities of the instrurnents by tuning them in thirds and fifths thus creating
an entire cliord with the drums. In the Symphony Fantastique, four kettledrurns differently tuned are used to create
the effect of distant thunder.

Most cornposers of this period realized the harmonic value of the drurns but due to the mechanical limitations of
the instruments then in use, often neglected to indicate changes of intonation and as a result the Tympani were used
often as a percussive effect without any harmonic value whatsoever.

Richard Wagner saw the tremendous dramatic effects obtainable with the kettledrums. In severa1 of the Ring
operas two players are used with many important parts assigned to thern.

With the advent of thc pedal Tyrnpani composers have run rarnpant with the drurns and today the drums not
only have rhythrnical and harrnonic value, but are often called upon to play actual melodies with the most startling
effects thus obtained.
 Various Typ Of T y m p a n i
TYPES
a

E~rlicstModel of Hand S ~ r c w'I'y~npani Early Model Portable Mncliinc Typc Tympani

Opcratcd by Turning Onc Scrcw

Macliinc 'l'ylnpnni O p c r ~ t e dby Oric Scrcw

Pedal Tympani
 AMERICAN TYPES

i\, 't
Harid Screw Typc i
Portable Machine Tympani Opcrdted by
'\ Turning l ' w o Screws; In\cntion of SAUL GOODMAN

-LICI
I

1.ecdy Pedal Tympani WFL Pedal Tympani

Mfg. by Lecdy Drum Co., Elkhart, Ind. Mfg. by WFL Drurn Co., Chicago, 111.

Ludwig k Liidwig Pcdal Tyrnpani SlingcrInnrl Pcrldl l'ympani

Mfg. b y L~iclwig& Luriwig, Cliicago, 111. Mfg. by Slingcrland Driiin Co., Chicago, III.
 Valuation Of Notes And Rests

I
* , ,*
16th

11
J
II
J
.I II l II lI 1I
notes
II II I* I* II t 4 l, I*

:: *

-
I l
I * 1 I
I. I I
I I I
I I
lI
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,
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I , I I
I 8
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This is hoa 8th, Ibth, 32nd and 64th notes appear when written separately (not in group form.)

8th notes 16th notes 32nd notes 64th notes

RESTS

or whoìe or half
 A dot placed after a note or rest increases
its value by one-half

Written I cm. I
I
ri
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I.'
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I
VI

Equals

These notes are equivalent cm . rJ

I . I.
I
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I I
V
II .
VI
to these rests I V

Written I.
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A
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Two dots after a note or rest increases

its value by three-fourths

Written Written

Equals Equals
' l l r
' Y

Artificial groups of notes which are played in other than their origina1 form

The Triplet played in the value of J 7 notes.

The Sextuplet ~7Jm played in the value of notes.

Group of five J J played in the value of J J J notes.

Group of seven !JJ!JJJ I

7
played in the value of JmJ notes.

Group of four J J played in the value of J ~ notes. J

Group of two h played in the value of J notes.

Group of three quarters J

l
J
3 I
played in the value of & ' J notes.

Group of three halves d played in the value of d d notes.

 Terms, Abbreviations And Signs
T E R M S
Accelerando (at-cha-le-ratz-do) Gradually faster Ritardando (re-tar-dcitl-do) Retarding, holding back
Adagig (a-da-16) Very slowly Ritenuto (re-te-troo-to) Retarding, holding back
Ad libitum (ad-l~b-i-tum) At Iiberty Simile ( rzt71-i-le) Contin~iein the same way
Allargando (al-lar-gztz-do) Broadening out Sostenuto (Sus-ten-oo-to) Suita:ned
Allegretto (al-le-grei-to) Moderately i ast Staccato (sta-ha-to) Very short
Allegro (a-ln-gro) Quick, Iively Tempo ( t e ~ r - p o ) Time, rate of movcment
Andante (an-dclt2-ta) Moderately slow Tenuto (ta-)zoo-to) Hold fu11 vdlue or a Iittle over
Andaritirio (:n-dan-le-no) A Iittle faster than andante Tutti (100-te) All, togcther
Animato (an-e-tt~n-to) With animation Valse (VAI$) A waltz
A tempo ( a tem-po) At tlie original rate of speed Vivace (ve-Li-cha) Lively, rapid
Bih (bis) Repeat meas~ire
Chromatic (kro-vtat-ik) Proceeding by half tones A B B R E V I A T I O N S
Coda (ho-di) A number of measurcs f forte, loud
iised to close a composition ff forti$iimo, Very loud
Con brio (kon h16-o) With lifc and fire fff fortefortissimo, Extrernely loud
Con moto ( k o n - n ~ o - t o ) W t t h motion, not dragging fP forte-piano, Strongly attacked and immediately \oft.
Con spirito (kon rpe-re-to) With s p r i t mf inezzo forte, The medium bctwcen solt niid loud
Crescendo (kre- thetz-do) Gradually louder P piano, Soft
Da Capo (d.1 ha-po) Return to the beginning PP pianisiimo, Very soft
DAIsegno (di1 ra-yno) From the sign PPP pianopianissimo, Extremely soft
Dct rescerido (da-kre-rbelt-do) Cradually softer mezzo piano, Medium betwcen soft and very soft
Diminuendo (de-mc-uzt etr-do) Gradually softcr sfz sforzando, Very strongly accented
Fine ( j r - n a ) The end Dim diminuendo
Forte (j61-t'i) Loud Rit ritenuto
Fortitsimo (f6r-tt I-i-rno) Very loud Rall rallentando
Forzando (fbr-t inn-do) Accented , W i t11 sudden emphasis M.M. 1 = 96 An indication ~f thr number of
Giocoso (jc-o-ko-zo) Play fully beats per minute
Largo (la?-go) Slowly Tr trill
Legato (le-gn-to) In a stnooth, subtdined manner D S. Dal segno
Leggcrmcntc (Icd-jelir-a-n~e>r
ta) Easily, Iightly D . C. Da capo
Leggero (led-le~- o ) Easily, Iightly
Leggicrc (led-le-a-re) Easily, Iightly S I G N S
Lento (letl-to) Slowly :Il Repeat sign, rcturn to this sign 11:
L'istesso tempo (lic-ter-so tenr-po) In the same time or in its dbsence to the beginning
Maestoso (mi-es-/o-so) Majestic, with ciignity 11: Beginning of a repcdted section
Ma non troppo ( m i non tro-po) But not too muc!i m Fermata, pause, Iiold, sustain tonc beyoiid
Marcato (mar-ha-to) Marked, accented its value. Watth thc dircctor
hlarcia (ma,-che-à) In march tempo and style Z= Crescendo, gradually increase the volume
Meno mosso (ma-no nro r-so) Less movement, slower W Decrescendo, gradualIy decrease the volume
Mczzo piano (mcd-zo pi-a-no) Modcrately solt > Accent or stre\i the tone
Mezzo forte (tncd-zo /61-t,i)
Moderato (mocl-e-r2j-to)
Moderately loud
Moderdtely
e Coda sign, go dircctly from this sign to
the jection marked Coda
Molto ( ~ t ~ o l - t o ) Very, much % Segno, repeat from this sign
Morciido (mo-I671-do) Dyirig away Staccato, play tones in a disconnected
JJJ
Pianissimo (pc-.i-lili-i-mo) Extremely soft mdnner arid generally onc-half of thcir fu11 value.
Pidno (111-('-no) Smaoth, e\en, soft 8- Play one ott,ivc liiglier tlian written
Poco a poco (pn-!io a po-Lo) Little by Iittle T Coma, \top sliglitly before proceeding
l'resto (piei-tol Rapidly, \ ery quick -J Sustain the tone to its full value
Prcztissimo (P,ei I-tis\-i-mo) Rapidly as po5sihle x Repeat the preceding measure
Repeat thc preceding two measures
Ralleritai~cio(ral-en-tlr~z-do) Gradually 5lower
t
 SECTION ONE
T u n i n g Designations
The notes to which the tympani are to be tuned are designated in severa1 ways:

At the beginning o € the piece to be played may be found the heading TYMPANI in C & F, A & D, etc.

or

a small staff placed at the beginning

or

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
they occur.

Foreign Terms Used To Indicate Notes

To Which The Tympani Are To Be Tuned

ltalian French German

Fa Fa F
Sol Sol G
La La A
Si Si H (Ha)
Do Ut C
Re Re D
Mi Mi E

Accidentals

In Italian or French the word Benzolle or Benrol means flat and the word Diesis or Diese means sharp. In German
Fis means F#, Ges means Gh, As means Ab, Ha means B natural, B means Bb, Cis means C#, Des means Db and Es
means EG. N&: With some of the seventeenth century composers, al1 tympani parts were written in C and C; and their
tuning designation given at the beginning of the part to be played:

Tympani in D & A
Example
I
l J l I
I W I
i.
I
'
W etc.

Whcn these parts are encountered the player should be careful to note the correct tuning of the drums given at
the beginning of the part.
 Care A n d M a i n t e n a n c e Of T h e T y m p a n i
W h e n Tympani are not in iise, they sliould be placed away from heat of ariy kirid. Care sliould be taken riot t(>
relax the tension on the heads entirely or allow too.much tension on the Iiead.

If the drums are to be used under extremelf damp conditions the heads should be left with a very srnall arnount
of tension when not in use.

If the drums are to be used under extremely warm aiid dry conditions they are best left iri tlie following coiidition
when not in use:

T h e large drum tuned to Bb T h e small drum tuned to Eh.

This will help in rniiritaining the "Collar" which is important i11order to obtain the lower notes.

W h e n Tympani are not in use the heads should be tuned carefully. This will help to insurc clear even intonatioii
when they are to be played on again.

If as a result of extremely dry conditions the Tympani head should have Iort it's "collar," the Iicad sliould be re-
moved from the drum and moistened on both sides, care being taken that the oid creasc in the head is well softened
before the head is replaced on the kettle. W e t t k g of the head on one side nrily should be avoided although this may
be done with the liead on the kettle when sufficierit time does riot allow wetting both sides.

It should be noted that too much wettirig of the head kills the life in the iiead ancl ofteri results iri makirig it
false and toneless. Proper tucking of the head will greatly assist in stabilizing it and the elirni~iatioiiof unnecessary
moistening.

Al1 moving parts should be kept free arid screws well oiled.

T y p e Of T y m p a n i Stick To Be Used
T h e handles of Tympani sticks are best made from straight ~ r a i n e dhickory or rock riiaple. An clastic type handle
is not recommended. A rigid handle helps produce the best tone and a clear concise beat.

T h e handle itself may be from thirteen to fifteen inches long, depending on tlie prefereiice of the player.

T h e recommended type of balls for the stick are tlie "Cart Wheel" and the "Ball" types.

T h e Cart Wheel type is constructed as follows:

T h e hard inner core should be of liard felt about one and one quarter inches in diameter and one iiicli iri tliickness.
Around this inner core is sewn a thin layer of medium felt the same width as the core. Around this layer is sewri a
layer of soft damper felt. This should produce d ball approximately two inches in diameter.

Construction of the "nall" type s t i ~ kis as follows:

T h e inner core should bc of wood or liard felt about one iiich in diaineter 3 r d about three q~iartcrsof an inch in
thickness. Over this core is placed a piece of medium hard felt sewn in the forni of a b3g aiid pulled tiglitly over the
core. On top of this is placed the soft damper felt sewn i n the form of a bag arid pulled tightly over the rcsulting
core. This ball when finished should be about two iiiches in diarneter and one and three quarters to t u o inclies in lengtli.

I t should be noted that the larger the ball the greater amount of tone will be prodiiced. 1 Io\vcver, balls tliat are too
large will produce a stifled sound o11 the Tyrnpani. A head urider extreme dry conditions \vi11 iiecd a stic.k witli a large
ball to produce the proper amourit of resonance. Coriversely urider damp coriditions a snialler ball 1s recornmended
because this conditiori tends to make the head vibrate more freely.

A hard stick should not be used when there is not miich vibration in the Iiead. T h c best typc of stick to use fur
genera1 wark 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 rhythmical effects. This
type of stick should be used with the utmost discretion and only where 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 sufficient.

For very fast passages that are to be played very softly, a stick with a very small ball is recommended. To further
prevent the vibrations of the head from interfering with the clarity of the beat, placing a small piece of soft felt or
a handkerchief on tlie head where it adjoins the rirn, will help in making the beats clearer.

M e t h o d Of T u c k i n g T h e T y m p a n i Head
Before tucking the Tympani head it should be determined beforehand whenever possible under what conditions
(dampness, dryness, 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 a 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 Aush eliminating al1 the slack.

Under moderate conditions it is best at al1 times to allow a srnall arnount of slack in order to compensate for
slight changes of conditions in either direction.

i . 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 warm. Over soaking the head will cause it to lose its finish and bring on the appearance of
white spots (in a transparent head) .

2. After the head has been soaked for the proper arnount of time spread it out on a large table wliich has been
covered with paper. With a soft cloth remove al1 surplus water, first on one side, then on the other.

3. Determine the beating side of the 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. (If 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. IMake 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 flesh hoop used.

7. Use a standard tucking t001 or the back end of a rounded spoon handle. Fold over a small portion of the head
over the flesh hoop and with the tucking t001 force it under the flesh hoop. It is best to tuck opposite sides by first divid-
ing the hoop into four equa1 parts and then continue with opposite sides until the entire head has 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 rub the rim of the kettle with a piece of paraffin or wax.

9. Place the head ori 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.

io. Allow to dry in a cool place away from heat for about thirty six hours. More or less time may be required
depending on drying conditions.

Note: The Ilead may also be allowed to dry cornpletely 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.
 Range Of T h e T y m p a n i
The complete range of the modern Tympani is from low Db to high A.

The Tympani sound as written. They are not transposing instruments.

T h e most popular size drums in use are of 25" and 28" in diameter.
8 \.
-,I''
T h e large 28" drum has a range from low F to C. ._....
Cm
and the smaller 25" drurn has a riinge from
O

It is possible and sometimes practical to go above or below the range given for these size drums. Thc large drurn
(28") can produce the low E and the high D. l --

Similarly the small ( 2 5 " ) drum can produce the low Ab and the higli G.

These notes arc not recommended for the giveri sizes aiid should be used only whcn their use oli thcsc sizes is
necessary.

A drum of 30" or 32" will give good quality from low D to the A above.
-0

A drum of 23" in diameter will give good quality from the high D to the A above

It should be remembered that the right size drums should be used whenever possible i11 order to give a good
quality of sound for each desired note.

Severa1 of the modcrn composers have used notes for thc tympani which are beyoncl the I-ange grvcn. Jar1aci.k
used ihe high B ~lai*and tlie high I3 ~atural*.- -- Thc celebrared coiiductor, Stoko\vrki, i r i liis orc1iestr;ii trail-
-- p p

scriptions of Bach, used tlie low C E . 'Tliese notes do not often occur as is eviileiit. 111 ordcr to prorluce rlieiii,
- ~-

-
f)
specially built tyrnpaiiis Iiave to hc useci. 111 tlie case of the liigli H N a t u r a l e , a 21 iiiili tymjxtni WOLLIJ
ii;~ve
to be employed to give good qilality for this note. In the case of the low C N a t ~ i r ~ ai l tyrrilxi~iiof 3 5 i~icliesto 36
inches in diamctcr would Iiave to bc eiiiploycd to give good quality.

It should bc ernphasized that the employrnent of these notes are most uncoinmvii, aiid it is oiily \virli our great
symphonic orchestras that these instruments art: available.
 T y m p a n i Sticks

NO. N A M I i 0 1 : ST1<.K RECOMMENDBD use

1. Snlall Headed Sticks Staccato and precise rhythmical effects.

2 . W'txxieri Sticks Specialized rhythrnical effects as iridicated by the

composer.
3. C;irtwhccl l'ypc Sticks
Genera1 use arid tonc.
4. Light .Sm;ill Headcci Sticks Soft Staccato work.
5 . Flanncl Headed Sticks Extremely snft staccato work.
6. Ball 'I'ypc Sticli Al1 around genera1 use.
 T r a i n i n g T h e Ear I n Preparation For
Tuning The Tympani
The actual process of training the ear for tuning the Tympani depends largely ori the musical background of
the student. For those students who already play some musical instrument, it will be relatively simple to learn the
necessary fundarnentals of tuning. For those students whose musical background is limited the following method
will serve to develop the ear.

The main basis of tuning the Tympani is a thorough knowledge of intervals. The following are the more irn-
portant intervals with their number of steps and half steps which deterrnines the interval.

The minor second l half step

The major second 1 fu11 step
The minor third 1% steps
The major third 2 steps
The perfect fourth 2% steps
T h e augmented fourth or diminished fifth 3 steps
The perfect fifth 3% steps
The minor sixth 4 steps
The rnajor sixth 4% steps
The minor seventh or dirn. seventh 5 steps
The major seventh 5 % steps
T h e octave 6 steps

These interva.1~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 pipe and
sound this note to hirnself at odd moments. It is surprising how quickly this note can be sung from memory. The
acquiring of this asset will be most helpful in tuning the Tympani.

TABLE I

In table I it will be noted that there are solid lines and dotted lines. When the solid line is crossed in going
from one tone to another let us call it a full step or whole tone. When the dotted line is crossed in going from one
tone to another let us call it a 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 fu11 tone
above A. Looking at our formula we find that one fu11 step equals a major second. Therefore the interval between
A and B is a major second.

If we go from A to A# (Sharp) we only progress one half step above A. Looking at the formula we find tliat
one half step equals a minor Second, since we cross one dotted line.

By using this rnethod the student who is not familiar with intervals can te11 at a glance, by using table I and
the formula, the actual name of the interval before determining its sound.

Having determined the interval by name we can now proceed to detern~ineit's actual sound.

The use of some musical instrument (preferably a Piano) is recommended in hearing the actual sound of the
interval.
 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 a t table I i l we cross over from A to A# we cross the dottcd liiie or progrcss one half step. G o
to the Piano, Orchestra bells, Xylophone (or even a well tuned pitch pipe cari be used) and get the sound of this
combination. Sing it to yourself aloud and then try to fix the interval firnily in your mind. Now iry other com-
binatioris of minor scconds iising table I to locate them.
Try doing tlie sarne thing iising the formula for the major second. Proceed then to the minor tliird and tlien
locate al1 the iiitcrvals givcn iii t h c t a b l e of formulae G e t the sound of these intervals firmly fixed in your ear.
Do not try to learri too nlany intcrvals at one time. It is best to set a scliedule for yourself of one or two
intervals at a tirne arid leari] them tlioroughly.
In singing tl-ic intervals to yourself it will be found helpful to use the syllable Ba. T1iis forces the moutl-i open
and produces a more accurate pitch.
Sincc tlie car is a very sensitive organ it is better to practice this type of ear training no longer than ari hour at
a time. Wlieri the ear becornes tircd it is inaccurate in pitch. This is something that the student should avoid, since
it is essential in tunirig the drums to work for accuracy.
The student should get used to seeing the intervals arid hearing thcm in tlie Bass clef since this is the clef that
is used for the Tyrnparii.
T h e following ;ire tlie iritervals as they look and sound:
Sfi::or se( ond5

Major tliir(is

A:lgrne:itchd fourtlis Minor s e ~ e n t h s

Mnjc>r \i.;r';\ hiajor sevenths Octave

-L --p

I L I . 1

i--- v-
CF
le- -
V
.I
O
C. l

CL,

It will 11e riotcd that the intervals givcii are tliose nliicli actually exist arid arc possiblc witliiii the rarige of the
Tyniparii. The stiidciit sliould be able to recognize these intervals in al1 other clefs and positions whcrc tliey might
occur.. Aftcr inastei-ir-g tlicsc furiclaincntal intervals it should be relatively simple to locate nriy iiiterval no matter
where it rniglit occur.
Jt carinot bc too stro~iglycn-iphasized to learn these intervals most thoroughly. This knowledge will become
the rnairi h s i s frir t~iiiiiigthe Tyrnparii.
 T u n i n g The T y m p a n i
The most frequent intervals that occur in tuning the Tympani are the perfect fourth and the perfect fifth. The
student should make a special point o£ recognizing these intervals.

If you have learned your intervals well the actual tuning of the drums should not be too difficult.

It is best to learn to tune the drums with the sticks in one hand as shown in the photo below.

At this time do not attempt to tune the drums by flipping with the finger. This method is unsatisfactory for the stu-
dent since when striking the drum with the stick after tuning with the finger the same pitch is not produced.
If the hand Tympani are used, learn to turn the screws in pairs using the two screws nearest you, then the center
pair and finally the farthest pair.

Before you are ready to tune, first sing the note you desire to yourself. Tap the drum and decide for yourself
whether the drum is too high or too low. After you have made your decision, proceed to make the necessary adjustment
either tightening or loosening the screws, whichever you have found necessary. After this adjustmerit is made sing the
note desired to yourself once again and compare it to the pitch of the drum. By repeating this process you will get the
note desired. D o not attempt to sing at the same time that you are testing the drum to ascertain it's pitch. SING THE
NOTE T 0 YOURSELF FIRST, A N D T H E N TAP THE DRUM A N D CONCENTRATE O N THE PITCH OR-
TAINED.

In tuning a given interval, first obtain one note and then sing the interval desired from the note tlius obtained.
D o not try to tune the notes desired by conceiving of them individually. Remember that what you are primarily inter-
ested in is to obtain THE INTERVAL RELATIONSHIP BETWEEN THE T W O TONES. For e x a m ~ l eif it is desired
to tune the Tympani in A and D,
Itej

Tune the A or D first, whichever you choose, and then sing a fourth above or below whichever note you have
obtained first. If one of the notes is tuned accurately and then the interval sung correctly, the tuning of the desired
intemal should be correct.
 17
After tlie desired note is obtained on the hand screw drum, tap the head gently near each screw close to the rim
and get the same accuracy of pitch at each screw. This is known as evening up the head.

Often in tuning the hand drum, sufficient time does not always exist to d o this. Whenever possible this evening up
process should be done.

T u n i n g With The Pedal T y m p a n i

Tuning with the pedal type Tympani makes for greater accuracy because it creates an immediate equa1 tension on
the head. The possibilities of rapid tuning are almost limitless with the pedal Tympani.

Although the pedal drum is the idea1 instrument to use, nevertheless a rea1 understariding of the characteristics of
the head are best acquired by a thorough knowledge of the hand Tympani.

Practically al1 pedal Tympani operate on the same principle. By pushing the pedal forward or downward tlie. tone
is raised. Ry releasing the pedal the tone is lowered.

O n American made instruments al1 the fine adjustments are made with the six or eight hand screws. With foreign
built machine Tympani the fine adjustments are made with a master screw that adjusts the tension with onc operation.

Before beginning to tune on the pedal Tympani make sure that with the pedal released the lowest tone is as fol-
lows:

O11 the large drum the note should be the low F

itn=l
T h e top range o € this drum should then be at least the C above

O n the small drum the lowest tone with the pedal released should be the low B flat. 1- '

T h e top note will then be the high F above.

W h e n the range of the drums have been set, the following method is used for tuning witli the pedal drums:

1. Sing thc note desired to yourself.

2. Release the pedal, strike the drum lightly with the stick and immediately slide i113 to thc note you want by
pushing the pedal forward. If the first attempt has not been successful, repeat the operation.

In turiing with the pedal drum, it is always best to go below the note you desire and tiine up to it. Tliis will
eliminate any tendency of the head to stick and will produce more accurate intonation.
Method Of Changing The Pitch Of T h e Drums
From Intervals Already Established
Method of Changing the pitch of the drurns frorn intervals already established.

For example:

If the drurns are already tuned in A and D

and it is desired to tune thern to F# and C#: ZBG3

Referring to table 1 it is noted that the jurnp downward frorn A to F# is one and one half steps. This equals a
minor third as given in the formula. W e therefore sing down a minor third. In doing this the F# is obtained. Now
going frorn F# to C# we count three and a half steps. This we know frorn the formula is a perfect fifth. By singing up
a perfect fifth frorn F# we thus obtain C#. The drurns are now tuned in F# and C#.

The same result rnay be obtained by singing up a rnajor third above A. This will produce the C#, and by singing
down a fifth frorn the C#, the F# is obtained.

It is also possible to sing down a minor second frorn D to C#, and then a fifth down to F#. Any of these rnethods
is correct, depending on the preference of the student as t o which one he would like to use.

{ -Q-
The same rnethod ran be used in going frorn F# and C#

T o B and E.
ZEEI
Frorn F# to B is two and one half steps or a perfect fourth. By singing up a fourth frorn F# the B is obtained. E is
two and one half steps above B, therefore a fourth above. In this rnanner the interval B and E are obtained.

By using this rnethod the task of the student in moving frorn one set of intervals to another is simplified.

Method Of Changing T h e Pitch Of T h e Drums

From T h e Eixed Note A
It has already been recornrnended that the student rnernorize the note A. When this note has been firrnly established
in the mind, any interval or combination of intervals rnay be obtained from it.

For example; 1f it is desircd to tune the Tyrnpani in C and F,

sing the note A.

Frorn A to C is one and one half steps or a minor third.

 By singing a minor third above A the note C is obtained. T h e F above C is two and one Iialf steps or a perfect
fourth. Therefore we arrive at the interval C and F.

Sirnilarly, if it is desired to tune C# and G#, C# is a rnajor third above A. Having obtained the C# by singing
down a fourth we arrive at G#.

Practice tuning tlie following intervals by using either rnethod given.

First, identif~each interval, using the given formulas. Second, write the name of the interval under each measure.
Then proceed to tune.
 Arrangement Of T h e T y m p a n i
The Tympani should be placed so that the small drum is on the right and the 1a:ge drum on the left. The drums
should be horizontal not tilted.

i. The drums should be about eight inches below the players waist.

2. The player should be in a standing position so that the mid line of the body coincides with the spot wherc
one drum adjoins the other.

3. The feet should be not too far apart or too close together. The feet should be as in a norma1 standing posi-
tion. The player should have the feeling of complete freedom of motion.

4. The movement from one drum to another is from the waist.

N O T E

Although it is possible to play the tympani in a sitting position, playing the

instrument in this manner does not makp for freedom of motion n-hich is most
important £or proper execution. The player should, at al1 times, avoid a sitting
position. It should be noted, however, that in playing the Pedal Tympani, it is
essential, in order to execute the difficult changes of intonation, for the player
to rest his body against a stool.
 Holding The Sticks
Before beginning the preliminary exercises it is absolutely essential that the student understands and masters the
correct rnethod o € holding the sticks. Only then will he be able to g o on and rnaster the principles of setting the hands
in motion to execute the fundamental single stroke.

The author's entire teclinique is based upon this method of holding the sticks. Tlie student must therefore make
every effort to acquire as soon as he can the hnbit of holding the tympani sticks in this way, and in no other.

First, study al1 the photos in this section c a r e f u l l ~ ;then, as soon as you think you have a good general idea o€
what is wanted, try it out with a stick. Getting the position right from the very start will save you a lot of trouble later
on.

Right hand palm up, fingers extended. Place the thumb on the stick, and in lirie with the stick.
Stick laid across the first joint of the index finger, ahnut
3 inches from the end o£ the stick.

Rest the second and third fingers against tlie stick
gently. T h e fourth or little finger should not come into
contact with the stick at all.
Turn the hand over; rest the stick head on tlie drum
head.
Try the sarne with the left hand. Make certain that you
have every detail right.
When both sticks are held in this fashion the general
position of the body is as in plioto. Notice the elbows
projecting slightly from the sides of the body; and how
the sticks form a "V" open at the end.
T h e beating spot, i.e., the place where the head is
struck, should be not less than 2 iriches nor more than
4 inches from the rim of the drum.
 Striking T h e Tympani
It is important to rernernber that the Tyrnpani should be struck in the same place on the head each tirne. If this
is not done a variety of uneven sounds are produced. In order to help you hit the sarne spot each tirne, draw a srnall
circle with a piece of chalk approxirnately at the beating spot. Place the sticks on the circurnference of this circle
and strike the drum at the same spot each tirne.

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 drurn head three inches frorn 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 against
the stick, fa11 away from it. The thurnb 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 that tlie
second and third fingers come in contact with the stick again. Flip these fingers against the stick so that they will help
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.

T h e P r o p e r Method Of Execution
The Tympani uses the single stroke and not the double stroke as in the snare drum. It is essential that the player
equalize the strokes in order to produce an even sound on the instrument.

Make sure that you are striking the same spot al1 the time in going from one drum to another.

Practice the following exercises first with the right hand alone, then with the left hand alone, and then with
both handr alterrzating.

Exercise 1
Exercise 2

Exercise 3

Exercise 4
Staccato I n T h e Low Register Of The T y m p a n i
Exercise 23

R I , R L R L R R L

R H I, R L R L R L R I,K R I,

R I, 1, R R R L R R I, R I , R R L R L R T . R L R L R L

R L R I , R R L R L R L L R L R I, R LOR

The following exercise (24) will serve to illustrate the difficulty of producing the staccato in the lower tones.
Practice this exercise making a special effort to make the notes clearly heard.
Exercise 2 4

L R R H L R L , R L R RI,
1
 The Grace Note Or Appogiatura
This effect is often used, and in its severa1 forms is very effective when properly executed. The single grace note

L
is played similar to the "flam" on the siiare drum: the small (grace) note is played just before the beat; the

large note is played directly on the beat.

That is, what is written this way: is played as though written

, 2 -

The execution must 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.

T h e main rzote is directly otz the beat und carries the uccelzt; the grace note is utzaccented.

T h e single grace note effect should be practiced from hand to hand; since it is riot successful at fast tempos it is
not necessary to develop any great speed but rather to concentrate oli obtaining clarity and precision.

It is easy when executing a grace note to stifle a drum a n d prevent it from giving its true tone. This should be
guarded against by withdrawing the stick from the drum head as quickly as possible

The Double Grace Note 3 .

Here again, as with al1 grace notes, the two small notes come just before the beat and the large note falls directly
on the beat.

it is played as though written:

Written:

Three distinct sounds must be heard; do not play the grace notes too quickly. It is not practical to play this beat
from hand to hand; the more effective method (for right hand players) is right-left-right, so that the stronger right
hand naturally takes the accented niaiii beat.

N o grdce note or appoggiaturn is b e g z ~ ~uzi t h LI)^ nttack or accetzt. T h e attack is reserz~edfor the ?unin note.

m 1
T h e Triple Grace Note .:J*

Here the tliree small notes preceding the main note have the effect of a triplet, as though written:
.>' \!
 A fourth type of grace note not commonly used is the quadruple type.

This type is written played

RLRL R

Practice the following exercise on grace notes taking great care not to play them too closely. Grace notes are most
effettive when played slowly. Do not attempt to play the exercise too rapidly.

Exercise 25
In G & L)

R I. R R L R
 Counting Rests
The ability to count accurately the number of measures rest, no matter how numerous, is one of the most im-
portant requisites in Tympani playing.

This ability can be developed only by the most careful concentration and closest attention to the rhythmical struc-
ture of the music being played. Conductors cannot always give an entrance cue to the tympanist, and for this reason
the player must be absolutely certain and sure just when he must "set in."

Let us look first at severa1 simpler types of rhythm in which rests occur;

Here there are two beats in a measure, that is, the rh ythm is "1, 2, 1, 2, . . . " Then when we come to the three
measures rests we will count as follows:

"1, 2,2, 2,3, 2"-and thenplay.

Notice how the first beat of each measure is used to indicate the numbers of measures rest counted. This can of
course be continued as long as necessary, according to the number of measures rest in question.

Exarnple (2) has four beats to a measure; the rhythm is then "1-2-3-4, 1-2-3-4, ..." Therefore in
counting the 4 measures rest in example 2 we say "1-2-3-4, 2-3-3-4, 3-2-3-4, 4-2-3-4," and come in
on the first beat o£ the next measure as indicated.

In example 3 the five measures rest is counted:

"l-2-3,2-2-3,3-2-3,4-2-3,5-2-3."

These examples should suffice to make clear the genera1 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 a great many measures rest for the tympanist they are divided into groups, often
separated by "cues" played by other instruments, giving t he tympanist an opportunity to check his position. His ability
to use these cues will depend largely upon his keenness in detecting them in the orchestra.
 Counting rests and tuning the drums at the same tirne is not an easy trick, and can be developed only through
constant practice. The player will find some difficulty in continuing to count accurately while trying to bring the drum
to some required pitch at the sarne tirne. The key to the matter lies in becorning so adept at counting rests that it be-
comes an automatic process, and will go on by itself while the player pays attention to tuning.

If the tympanist does lose his place he rnay be able to find it again by his "cues." If none are provided on his
rnusic in a difficult section he will do well to enter his own.

The knack of counting and tuning cannot be acquired overnight. Regular and consistent practice is the only way
to achieve this important skill.

In the orchestra, the player should so place hirnself that no matter how many drums surround him he will be able
to see the conductor at al1 tirnes-even when bending over his drums at any extreme angle.

In the preceding pages the fundamentals of Tyrnpani playing have been developed. These fundamentals are im-
portant for a rea1 understanding of the instrument.

The following exercises will serve to give the student a more thorough knowledge of the technical resources of
the instrument.

In working out these exercises, if the student should run across difficulties he rnay always refer back to the funda-
mentals for assistance.

In many cases the author's hammering has been notated; other places have been left blank for the student to use
his own.

Hammering is often the case of persona1 choice provided that the player has a thorough background in the
fundarnentals.

D o not work only for speed. The important things to work £or are:
Clarity.
Precision.
Tempo.
Tone.

At al1 tirnes exercise good musical taste in your playing.

 SECTION TWO
Exercises For T h e D e v e l o p m e n t Of
Technique O n T w o Drums
J , 9 2 Allegretto Exercise 26
InC&G

L
n.
L
h . h 7 i
i
l
n
I l
,
I h

R L L R L R L R L R L R L R L R L R \ x / L R J , H L I.

R L 5 , R R L R L R L R L R 1, R L R L & R R L R L R L R

R
R
cresc.poco n poco
R R L R L R L R L R L R L
2
J:ss Tempo di Marcia. Exercise 27
In C# & G#
i l %fr I

1 1 1 1 1

R R L R R L R L R L R I,
P-f

R ROL R
cresc. poco cr poco -
f 7 P
 Exercise 28
J ss
: Tempo di Polonaise
In Ab & ~b

l. R R L R < L R L R L R L R

R I - R L R L R R L R L R R R LOR R LR
3- f

L R R L R R -l

Exercise 29

f R R L R I, R OR R L@R L R L R L@R L

rr
--PR R L R R L R LQR I, R I,

i.=
ss Allegretto
Exercise 30
In G & I)
 Exercise 31
J l 80 Tempo di Marcia
InE&B

fk L R R T. R LQR L R R L R L R L R L R L

R R L R L R L R L R L R L R L X L R L R L R L

8 Allegro giocoso Exercise 32

In ~b & F

L R L R L L R R L R L R L R L R L
pp subito
J ,~
o oAllegro vivace Exercise 33
InF&C

Exercise 34
-
R L R L R L R L R L R L R L R L R L R

R R R L R L R L R L R L R L R L L R

q = . - ~ R L R L R L R L
P

R I,@RLRL R L O R L R L R L O R L R L S R LR R L R L R R L R L
cresc. p o c o n poco

L R L R L R L R m L R L R R L R I , R L R L L R L R R L R L R L
 Exercise 35

Allegro preciso
- . I -I

Andante maestoso Exercise 37

In C & G

L L R L R L
P

R L R
-f R R L

R R L R L R R L R L R L R L R L R L R R L R L R R L R L R L R L R L R L R R L R

L R L R R L R L R R R L R L R R L R L R
 Ternpo di Valse Exercise 38
In Ab & ~b

J = 72 Exercise 39
InF6rC

J ,BB Adagio Exercise 40

In I3b & F
 Exercise 41

-
f
I
I
I
l I
m.
I l
I l
I
I
I
1 D
I
I
I
I
I
I
I
I
I
I
I I
I
I
I
I
I I
I
I
I
I
I
I
I
.
1
I
1
I
1
I I
I
.
I
I I
l I
I
I
I
I
I I
I
I
I

R L R L R

J ss Tempo di Marcia Exercise 42

In Ab & ~b
Tempo di Galop (1 beat to a rneasure)
Exercise 43

Exercise 44
l
4 :92 Allegro Exercise 45
In ~b & ~b

d :m Andante preciso Exercise 46

InE&B
I
6~ 8 0 Exercise 4'7
In ~b & bb

O R L R L

Exercise 48

Exercise 49
Exercise 5 0

Vivo !A;132)

a poco . . .
 Exercise 51
Where measure indicates count tl~reebeats to a rneasure.
4
6
Whcre measure indicates count two beats to thc rnea5.x-e.
8
InA&E h 4

Exercise 52

< R L L R L 3
J ,656 Slow March Exercise 53

F,

1, R L R I, R L@R R H L R L R L R L R L R L

Exercise 54
I 10s Allegro
InF&C

Exercise 56
Exercise 57

Exercise 58
 SECTION THREE
T h r e e And Four D r u m T e c h n i q u e
The two middle drurns should be directly in front of the player with the lowest drum on the extreme left. This
will form a small semi-circle.

With four drums, the fourth drum should be placed so that the player is in the exact center within easy reach
of every drurn.

In some cases with modern scores a fifth drurn has t o be added. The drurns should then be placed in as small
a semi-circle as possible so that the player is within easy reach of each drurn. Care should be taken so that in going
frorn one drum to another the screws or the counter hoops of the drums are not struck.

T e c h n i q u e Of T h r e e And More Drums

Cross hammering to extreme drums should be avoided. In some rare cases this might have to be done.
Two strokes with one hand on adjacent drums is often necessary.

T h r e e D r u m Examples
Eb, G, Bb

R L R R L R R L R R L R R L R R L R R L R R L R

Four D r u m Examples

W
L R L R L R L R L R L R L R L R

L R L R L R L R L R L R L R L R
 Three Drum Exercises
1
J:,, Exercise 59
G , Bb, D

L R R R L R R L

v v

L R R R L R R L ~ R L R ~ L R L

R L R L R I , R L R L R L
 Andante (iso) ;

Eb, Bb, G Exercise 60

Exercise 61

L R R L R L R R L L R R R

RLRR LRL

Exercise 62
-------n

L R L R L
cresc. uoco cr uoco - - -

L R L R L R L R L
. . . . . - - -
 Lento (A. ,661

/i presto ( 9
F, D, A
:160) Exercise 64
 ', '
* n
Moderato < J.,
-
81) Exercise 65

m- W W W W W W W

. . i / " / fi, , f

ilegro vivace (J :9s)

Exercise 66

L- R R L R L R L @ R L R L R 1, R L R L R R

.y I ' i, R L L R L R L R

I
Allegro moderato (J :ss!
F. Bb. F Exercise 67
 Not too fast tJ:rs> Exercise 68
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R R L R L L

R R L

R R L L

Exercise 69

I I 4
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 Four D r u m Studies
Allegretto (1 sa ) Exercise 70

mfR L R L R L R L R L R L R R L R L

R L R L R L R L R L R R L R R L L

Allegro (iz 92> Exercise 71

L R L R L R R L L R

R L R L R L R L R@L R 8 R L

L R L R msc- - - . - - - -

R L R L R R
 Largo ( j.ss) Exercise 5'2

i 1 Moderato \ J 84) I , Exercise 5'3

 Technique W i t h T h e Pedal T y m p a n i
The versatile use of the pedal Tympani is the ultimate achievement in the technical mastery of the Tympani.

T o achieve the highest results the ear must be perfectly developed. Since the Tympani head is so unstable on
account of atmospheric conditions, a great dea1 depends on the player himself in determining the accuracy of the
pitch.

Refore beginning the technical studies for pedal Tympani refer to the chapter on tuning with the pedal Tympani.
Make sure that the pedal is set so that you have the complete range on each drum.

It wil! be relatively simple in doing the following exercises if the student will strike the drum first with the pedal
in a released position and then slide up to the note desired.

After the technique with the pedal has been developed, the use of muffling in stopping one tone from sliding into
another, may be exercised freely.

T h e Glissando (Gliss)
The glissando is done by striking the drum with the eda al released and sliding up to the note desired. This may
also be done in reverse by tuning to the highest note, striking the drum and releasing the pedal, sliding downward to
the note desired. The most effettive form of the glissando, however, is upward.
L r Large drum
S = Small drum
Exercises for Pedal Tympani - .
J J ~
> "
< l+
 The Glissando

- 1. I
-
gliss.
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Melodies for Pedal Tymp,arri

, i,"
 America
Samuel F. Smith

My Old Kentucky Home

Andante Stephen C . Foster

l/' ?* .

Rlarch from "Aida"

Moderato >
G.Verdi

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 FIVE DRUM STUDY

For most practical cases, the use of Four Mechanical Tympani will be suf-
hcient to solve the most technical problems in the modern repertoire. There are
cases, however, where the player will find it necessary to employ Five Tympani.
T h e exercise given below will serve to illustrate the use of the Fifth Drum.
T h e player should be careful to arrange his drums so that each drum is within
convenient striking range.

Exescise for five drums

Slowly
Low E, A, C#, E , F#
 * SECTION FOUR; Repertoire for Tympani
Symphony No. 101
by FRANZ JOSEPH HAYDN

in D. A.

*Por foreign names of keys refer to page 9.

 %
Trio. 92

- --

FINALE.
 Symphony No. 5
by LUDWIG VAN BEETHOVEN, op. 67
Tyrnpani in C 81G
Allegro con brio.(d = 10s) Fag.Vc1.
 fl
Holz.
Andante con moto. (h= 92)

38

i 4 7
330
sempre pp
 24 25 2ti 27 28 29 30 1 2 3 4 5 6 7 8
a69
cresc. - attacca
Allegro. (d = 84)

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 Symphony No. 7
by LUDWIG VAN BEETHOVEN, op. 92
Poco sostenuto J = 69
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 P poco cresc. - - - - ' -

Allegretto i= 76

Presto d- = 132
14 I I 33
in
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 Presto

Assai meno presto 26 +-

CODA Assai meno presto Presto

Allegro con brio d = 72

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 Symphony No. 9
by LUDWIG VAN BEETHOVEN, op. 125
Allegro ma non troppo, un poco maestoso J = 88
in
D. A.

3 3 3 I 2 3 4 5 6

a tembo
a ternbo n tein ho
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c o d- = I I 6
 87
Ritmo di tre battute.
5 3 17 18 Solo 02 > 2 3 25

I I Presto I

Adagio molto e cantabile J E 60 Andante moderato Tempo I

in
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crc rc. dinz. pizi P PP cie.tc.

*(Bb) scc pagc 9.

 Allegro ma non troppo .) = 8 8 Temnn T

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poco Adagio
? ,Vivace Tempo I Adagio cantabile Tempo I Allegro assai Tempo I

3 Allegro assai d = 80

I Allegro assai
 I 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Il O I I

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 Symphony No. 4
by FELIX MENDELSSOHN-BARTHOLDY, op 90

Allegro vivace
in
E.A.
 Andante con moto tacet

Coli moto rnoderato p - . - -

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Symphony No. 4
by JOHANNES BRAHMS, op. 98
I I I I . I . . .
Pih Allegro
 Symphony No. 4
by PETER ILYITCH TSCHAIKOWSKY, op. 36
Tympani in F.C. A .

Aiidanftb soslt.tiiito. I

Modemto con aiiinia.

n i I n I i m L 1 1 1 L
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(Nutw C iri H e A iri ~ i s . !

3Ieiio niosso. Moderato assai.q.iiasi aridailte.
( T i m p . in H, Fis.)
Beli sonteiiuto il teiiipo precedente.

TT Moderato coli anima.

poco a poco cr81c.
 i' moeso.Allegro vivo.

Aiidmit ino t i modo di Caiizona. ui q C, A.

41 A 24 I
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I O I I A I l m I I A I O I I I 1 1 1 1 1 A

Tempomnu
I. A

111. SCHERZO. P1ZZICATO OSTINATO.

AHegro.
111 Des, As . Meno uosso.
16 A 32 B 28 C 14 D 39 % 3 28 E 9

Tenipo I.
IV. FINALE.
 poco

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 Symphony No. 5
by PETER ILYITCH TSCHAIKOWSKY, op. 64

Tyrnpani in G.D. E . 1
Aiidaiite. Alleéro coli atiinia.

, ~ u t aG. i n A. Poco nieiio anlniato. striiig. Tempo I .

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Muta A in G , D in,B,E in D.
'2 N 16 1
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7 :I I \i
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Poco meno animato. striiig.

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Uii pocliettirio più mosso. 3Ioltn pii1 ~raiiqtiilloc:onie sopra. --

 poco

poco

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 Tympani in Fis, Gis, D.

Aiidaiite cailtabile, coii alcuna licenza. aiiiiiiarido. rit eri. soste11. anini. sosteii.
12 2 1 4 3 1 4
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l
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Con nioto. aiiiniando. sosteniito. Tenipo I . aniniando. riteii. sosteniito. Poco pii1 aiiiiiiato.
1 3 5 2 1 1 2 4
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riten.Tenipo I. anini. riten.anini. Poco pii1 niosso riten. Piìi ariiniato.riten. Poco nieiiu.

Tenipo I.
Tempo precedeiite. A Q

aiiiniaiido. riteii sosteiiiito. anini. sosteniito. anini. riteri. Pii1 mosso. Un poco pii1 animato.
- G 2 1 3 1 1 H Z 1 1 6 4 I 4
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Riteii. Tenipo I .
 111.
VHLSE.

Tymponi in Fis, Cis.

,Allegro moderato.
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(Muta Fis in F, Cis in C )

3 1 11

4 cresc.

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(Muta P in A,C in D.)

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 Tymponi in G, C, E .
Aiida~if niaesfoso. ra

Allegro \ivac.tA.(alla breve.)

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-- ~ 1 s a- 1 " I I L 1 s t L 1 1 I I

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1 1 1
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 Moderato assai e niolto ~tiaestoso.
=

Molto nierio ninsso.

 Finlandia
by JEAN SIBELIUS, op. 2 6 No. 7
Andante sostenuto

in A .

. poco
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poco cresc.
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p cresc. ff poco dinz.

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P cresc. 77101to Sf
 Funeral Music
1st & 2nd Tympani part Condensed by SAIJL GOODMAN
in G. B . c # . E ~ .
Sehr Langsam

va. Basso ----------- ---------------,

A Feierlich

p cresc. $$. dim.

 Symphonie Fantastique
by HECTOR BERLIOZ, op. 14
FOUR PLAYERS

PPP p=- PP PPP

Ti11 Eulenspiegels Lustige Streiche
by RICHARD STRAUSS, op. 28

uam. n
PP
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1 I ' I I Y

Behr lebhaft.
 Schelomo
by ERNEST BLOCH

colla pnrte p000 Pit. o h . 10 \o10

A P i ù animato

P
i animato

accel. accel.
@Allegro (coiin p n r t e )

!P animando

Y
sempre p

Renewal copyright assigned 1945 to G. Schirmer, Inc.

Used by permission
 L'Oiseau de Feu
( " Danse Infernale du Roi Katschei," "Berceuse" and "Finale" )
by IGOR STRAWINSKY
Allegro agitato J '168
Avec des barruettes en bois

PP subito Executcz ccs doubles croches avec deux mains-trcs rythme !

m.:
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in uno
1381 Baguettes en bois 3 Baguettes ordin.

tses fort. -P f8f T#

Berceuse and Finale
Lento
 Concerto Por Violin And Orchestra
by PAUL I-IINDEMITH
4 Tympani I

Copyright 1939 by Associated Music Publishers, Inc.

Used by permission
 A Stopwatch And An Ordnance Map
by SAMUEL BARBER, op. 15
Tempo di Marcia J = 92

dim. mp

-f P

mf ben sentito

I , '. I I
U u U
---W
v v W
poco -
f CYCSC. P
PP-

molto altaraando

Copyright 1942 by G. Schirmer, Inc.

Used by permission
William Billing's Overture
by WILLIAM H. SCHUMAN

- TACET to

Used by perrnission of the copyright owner C. Schirmer, Inc.

Fugue in C Minor
by JOHANN SEBASTIAN BACH
Arr. by DIMITRI MITROPOULOS

Uscd by permission of Dirr itri Mitropoulos

 Symphony No. 3
by WILLIAM H.SCHUMAN
Passacaglia

mPesante

i'occata

Pp sotto voce

-
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A. -
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a l I 1 1
I1 41 . I l I I 1 I I I I l I I l I l I I I I I I I l I I l I I I I I I l
I
I
d
A
T. H

Finale q

Copyright 1942 by G. Schirmer, Inc.

Used by permission
 American Salute
Bd.red on "When Johnny Comes Marching Home"

by MORTON GOULD
Briskly - with Verve J- = 126

Solo
6 A 8 B 9 C 9 D 6 E 1 > 2-

Faster - with forward rnovement

Copyright 1943 by Mills Music, Inc.

 Theme And Variations
by SAUL GOODMAN
Moderato

Var. I. - Vigoroso

Var. 11.

Var. 111. - Largo

Var. IV. - Waltz

attacca

Copyright 1748 by Mills Music, Inc.

 Timpiana
by SAUL GOODMAN
In Swing time

Solo 3

Copyright 1948 by Mills Music, Inc.