10 lntermediate Timpani Solos by John H. Beck Contents Title
Grade
LSinglt
Page
.....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.
4
7. Move lt
...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 slow playing is often a challenge' must keep a steady beat and play are F-B\-C and can be played on
9.Marchlt
.....4 mpo in m
13 rhythmic pattern gets more complicated. This solo otes will hetp to keep it steady. îhe notes required
two
....4
Ihis so/o reflects the abitity of four timpani
...14
to ptay a metody and has a strong march-like feel. Atways think about the sound quatity of the notes 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. M allet s u gge sti on : gene ral m at t et.
l0.Resolvelt
.......4
16 rhrs so/o is different in several ways. lt sta¡fs with a cadenza section, has a middte section, pedating and employs a iazz-like consideration at the 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 and 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 SECURED . N¡ADE IN U A S SOLE SELLING AGENT: KENDOR t\¡UStC, tNC , DELEVAN Ny 14042 U S A
GRADE 3
durolion 2:30
l. Sing ll
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)RADE 3
iurotion 3:00
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GRADE 3
durotion 3:05
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3708
4. Cross lt
GRADE 3+
durotion 2:05
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5. Accent lt
GRADE 3+
durotion l:30
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GRADE 4
durotion 2:45
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7. Move lt
GRADE 4
duroïion l:50
J: lBb, Eb,
116
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I. Slow It
GRADE 4
durotion 3:05
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9. Morch lt
GRADE 4
durotion 2:30
J:108
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GRADE 4
10. Resolve It
durotion co,3:00 Cadenza
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