10 Intermediate Timpani Solos John H. Beck

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10

lntermediate

Timpani

Solos

Title

Contents

Grade

Page

LSinglt

.....3

....3

Tone

quality

is

very impoftant

when

playing

timpani.

The

maltets

must

be lifted from

the head

ratherthan

pounded

into the head.

The

player

should

think

about singing

the notes

as

they are

played.

The type

of rhythmic

pattern

in this

solo

is

also

quite

typical of

timpani

pafts.

The

notes required

are A-D

and can

be

played

on the

middte

two drums

of a

sef of four.

2.Mufflelt...

.3...

........4

A

timpani rings

when

being

struck

and must be

cantrolled

with

a technique

called

"muffting".

The

muffting

technique

is

defined as

stopping

the ring

with

either

the

opposite hand

or the same

hand.

AII notes

in

this

solo

are

to

be

ptayed

with

their

written

duration,

the

same

as

a

wind

player

would

play

them. The notes

required

are A-D

and

can be

ptayed

on

the middle

two

clrums

of

a set

of

four.

3.Roll

lt ... .........3 ....5

A roll

on a

timpani

is

produced

by a rapid

alternation

between

hands,

called

a

"single

stroke rott".

Most

timpanimusic

uses

the

interual of

a

foutth

wìth the tonic note

falling

on the

right

hand.

This

so/o

uses the intervat

of a fifth which

has

the

tonic

note

fatting

on the teft

hand.

Many

times when

the

tonic

note

is

played

it

is not

on

beat

one, therefore

count

carefully

and roll

smoothly.

The

notesiequired

are G-D

and can be

played

on the

middle

two drums

of

a

set

of four.

Maltet

suggestion:

general

mallet

or

soft

mallet.

4.Crosslt

...3+

....6

Cross

sflcklng

is the

technique

used in

timpani

playing

to

articulate

nofes.

Srnce

the

timpani

head

is

large,

doubte

sticking is

not always

clear

when

played,

therefore

an

alternated

sticking

pattern

works

best.

One hand

crosses

over

the other

in an

alternatecj

styte. The

cioss

sticking

is marked

with

an

"X"

above

the

music

whenever

it

occurs. Keep

the waltz

feeting

throughout.

The notes

required

are

Bb-Eb

and

can be

played

on the

middle

two drums

of

a

set

of four.

5.Accentlt

...

.....3+

....g

Accents

are an impoftant

paft

of

playing music.

Because the

timpani

heads

are

large

and

ring

a

lot, accents on

timpani

are

sometimes

challenging

lt is

impoñant

to

play

the unaccented

notes

softer

than

the

accented

notes.

Ihis solo

provides

material

for

improving

accented

playing

ìn

a march-like

setting

The notes

required

are B-E

and can

be

ptayed

on

the middte

two

drums

of a

sef of four.

Mattet

siggestion:

general

mallet

or hard

mallet.

G.Doublelt

.........4

.,.10

Double

stops

(playing

two notes

together)

are

an important

part

of timpani

playing.

untike

double

notes on

snare

drum

(flam),

doubte

notes

on timpani

must

be

played

at

the same

time -

the

same

as

ptaying

them

on

a

piano.

/f

ls suggeste

d to fìrst

ptay

thie

solo

on

the

piano

to

get

the

sound in

your

ear. Think

of

a

march when

ptaying

fhrs

so/o.

The

notes

required

are

a-C-b

and can

be'pla'yed

on

the

large

drum

and

middle

drums

of a

set

of

four.

7. Move

lt

4

...12

Rapid

playing

can be

challenging

lhrs

so/o

provides

material

that

witt

prepare

the

timpanist

for

this

kind

of

playing.

It is

written

in

an

idiomatic

style allowing for

the

hands to flow

naturally. The

notes

required

are Bb-Eb-F

and

can

be

played

on

ihe-middte drums

and small

Crum

of

a

set of four.

Mallet

suggestion:

genera

or hard

mailet.

S.Slowlt

.....4

slow

playing

is

often

a challenge'

mpo

rhythmic

pattern

gets

more

complicated.

This

solo

must keep

a

steady

beat

and

play

in

m

otes will

hetp

to

keep

it

steady.

îhe

notes required

are F-B\-C

and

can

be

played

on

two

9.Marchlt

....4

...14

Ihis

so/o reflects

the abitity

of four

timpani

to

ptay

a

metody

and

has

a

strong

march-like

feel.

Atways

think

about the

sound

quatity

of

the

otes

when

playing

and

follow

the

dynamics

carefully.

The

notes

required

are

F-Bb-Eb-F

and witt

be

ptayed

on all

drums

of a

set

of four.

allet s

u

gge

sti

on :

gene

ral

m at t et.

l0.Resolvelt .......4

rhrs

so/o is

different

in

several

ways.

lt

sta¡fs

with

a

cadenza

section,

has

a

iazz-like

middte

section,

and

employs

a

pedating

consideration

end'

The

notes

used

form

a dominant

seventh

chord.

This

chord must

resolve

itsetf

or

the soto

wilt

not

sound

finished.

Therefore,

the

last

note

petformed

is

the

resolution

of

the

dominant

seventh

chord.

Tune it

carefulty

so

fhe

so/o sounds

finished.

The

notes

are

G-B-D-F

will be

played

on

all

drums

of

a set

of

four.

COPYRIGHT

O 2OO3

BY

ALN/ITRA

¡,4USIC

CO

,

INC

(ASCAP)

.

USED

BY PERMISSION

ALL

RIGHTS

RESERVED

.

INTERNATIONNT

COPYRìC¡T

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N¡ADE

IN U

S

A

SOLE

SELLING

AGENT:

KENDOR

t\¡UStC,

tNC

,

DELEVAN

Ny

14042

U S A

by

John

H.

Beck

13

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10 Intermediate Timpani Solos John H. Beck

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