THE FRIESE - LEPAK TIMPAN! METHOD A COMPLETE METHOD FOR TIMPANI IN FOUR PARTS PART 1-BASIC THEORY By ALFRED FRIESE PART 2- TECHNIQUE ead ALEXANDER LEPAK PART 3-INTONATION PART 4 -REPERTOIRE Wost 46th Street, New York 36, N. ¥- le in USA. ‘Mil Rights Reserved ING, Rockville Contee, N.Y. Al Rights ReservedCS] S262 6 SS 8 8 i 8 6 HS eePART I-Basic Theory Clefs Measure (Bai). . Aceidentals. .. Key Signature, . Enharmonic Equivalennts Intervals... «+ Seales « Time Signatures « « Table of Note Valu Dotted Nates and Rests « Tied Notes Triplets . . Duplets 2+. +5 Other Unusual Groupings... - Signs and Abbreviations... - + Repest Sigts vee see ee cree Note Abbreviations Solfege Systems . PART IL-Technique and Facts Care of Timpani Heads... 6... sss + How to Keep the "Collar" on Timpani Heads What to Do When "Colar”Has Been Lost Sticks. voee eee ee 2 Range of Timpani... Extended Range « Taning Designation ‘ Foreign Pitch Designations. « . Holding the Sticks. ... - Position of Performer. « Striking the Head . Muffling Mating Exercises - Staccato Notes. «+ = Staccato Exercises . Interpretation. Sticking .- -- Excerpts Employing Single Sticking Roll. Exercise for the Devel comet of the Roll. «+ Roll Notation... fo Roll = sfz Roll. Crescendo and Decrescendo Rolls... Rolling Smoothly From One Drum to Another. Roll Exercises. sire Croas Sticking « Cross Sticking Exercises 30 Excerpta Employing Cross Sticking. 33 Grace Note Embellishments. . 34 Grace Note Exercises . « 34 PART III- Intonation Tuning... 38 Tuning of intervals ~ Ascending sv. 00+ ++ 36 Tuning of Intervals — Descending... 00006 40 Scale Exercise weetee 4 Glissanio 46 Glissendo in Combination With Roll 46 Excerpts Employing the Glissando . 46 Glissando Exercises... ++ +++ a7 Set Pitch or Open Tone 43 Excerpt Employing Set Pitch . 49 50 Tuning Exercises... ++ Exercises for Three Timpani. Exercises for Four Timpar PARTIV - Repertoire . Beethoven-Symphony No. 9 wane TE Brahms-Symphony No. 1 « toe Wegner Slegftied's Funeral March Tose ‘Tacheikowsky=Symphony No. 4. +--+ 851 R. Strauss_Death and, Transfiguration. « Dot Ri. Streuss—Burlesque in D Moll. « 94) D'indy—Jour Dete Ala Montagne. . Shostakovich—Symphony No. 1 - Rachmaninof{—Isle Of The Desd Rachmaninoff—Symphony in E Minor Barber—Easay For Orchestra... « Hanson—Nordis Symphony ‘Thompson—Symphony No. 2. Walton—Symphony No. 1. +++ Wm, Schuman—Undertow . Wm. Schuman—Circus Overture. Hanson-Symphony No. 3 Nosk-Rondo for Timpani and Plato ‘Barber-Symphony In One Movement « Franchetti—The Princess « v+++ + Franchetti-The Game Of Cardsaha Foreword ~ ‘The major problem in all Timpani playing is the problem of Intonation, This problem becomes more difficult when coupled with counting bars rest, Contemporary composers, by exploiting the pitch possibil- ities of the Timpani, have created new problems for the perform- er. The instrument is no longer used primarily to reinforce other sections of the orchestra, but has taken on added importance as a melodic instrument. ‘There is a need for a method with which to bridge the gap between technique and repertoire, This book has been written to fulfill such a need, thereby acquainting the Timpanist with con- temporary techniques of Timpani writing and preparing the per- former for any part he may be called upon to play. AGfred Fritoe Bifind- Fak for bis production of the ‘bum of records entitled "Fimpan! Studles" with the author Alfred Frien ot Dr. Philip ‘James, a5 narrator and Edwin MeArthur as acc ‘ompenying pianist.‘The name of Alfred Friese ranks without peer as America's best recognized Timpanist and ‘Timpani teacher, With half a century of performances under the world's greatest conductors of our time, and as the acknowledged teacher of Timpanists with most of America's leading symphony orchestras, Alfred Friese is the Dean of Timpanists. Still very active on daily teaching schedules, ‘and now in his seventy-seventh year, he is indeed a tradition. gradusted from the world famous Letpsig Royal Conservatory. artistic worthiness of the Timpani In July 1900 Mr. Friese was Originally a violaplayer in the Leipsig Orchestra, ho realized th and commenced studies with the orchestra's Timpanist. in1902hewas invited by Fritz Scheel to come to America as one of the nuclei of the orchestra thon being organized, which is now the famous Philadelphia Symphony. Following this engagement, Mr, Friese served as Timpanist with the Pittsburgh Symphony under Emil Pauer. In 1909 Gustav Mahler, in establishing the New York Philharmonic on a regular salaried basis, ‘solo Timpani chair. He was chosen from nine competitors. invited Mr, Friese to compete for the Mr. Friesesays: "Thoartist Timpanist must tune to a shade, have exacting rhythm, a perfect sense of dynamics as well as impeccable musicianship. He 1s more than a voice in an orchestral choir. His beat often gives the character, and sets the mood and color of the work".In the fifty years of Mr. Friese's experience, the following are some of the conductors and composers under whose baton he has performed as solo Timpanist: | Frits Reiner pugene Ormandy drturo Tosenin Tpor strana Richard Suavee Trerpo Sokoweld \ Guotar Maer fir Thomas Becshest friar Fleder Georges Baeseo In Alfred Friese's performing career there have been many gala symphony nights where he was tho unbilled star. ‘The unforgettable ocoasion in his book of memories was the night Richard ‘Strauss conducted the New York Philharmonic in his Burleska for plano and orchestra with Ella Ney fas soloist, At the conclusion he was singled out by Ella Ney and Richard Strauss to share in the ovation. Tt was at this time that Strauss remarked that he had never before heard such Timpant grtistry. It is interesting to note than when Strauss was informed in 1949 of Mr. Friese's intention to write a Timpani Method, Strauss responded with a touching reminder of this eventful evening. Jn May 1926, Mr. Friese opened his School for Timpani; the first of its kind. He has been chairman of the percussion department at The Manhattan School of Music for the past fifteen years. His pupils include those that oceupy chatrs in the New York Philharmonic, Boston Symphony, Pittsburgh Symphony, Indianapolis Symphony, Washington D.C. Symphony, New Orleans Symphony, New York City Center, and others. ‘Atrue innovation, the first Tiinpani recordings anywhere were made by Alfred Friese in 1950. ‘hie unique set of recordings titled TIMPANI STUDIES, a demonstration of the Timpantsts art for students, is now used In over one hundred universities, colleges and conservatories. In celebration of his fiftieth anniversary as a professional artist and teacher, Alfred Friese now offers his own Timpan! Method, and hopes that this contribution to the musical art will help produce more and greater traditions. plies foe Fewexander Lepak Alexander Lepak was born in Hartford, Connecticut in 1920, At the age of twelve he began his percussion and theory studies with Harry Martel. He was the percussionist in the Hartford Public Schools. After graduation, he continuedplaying end arranging for local dance bands, and later played with several nationally mown dance bands. At the outset of World War Il, Mr. Lepak joined the Marines where he conducted and played in the 3rd Brigade Band in the South Paciflo. He saw action at Entwetok and Guam, At the time of is dischargehe hadreachedthe rank of Staff Sergeant. When Mr. Lepak came to New York City, he began studying Timpani with Alfred Friese, and percussion with Henry Adler. At Mr. Adler's sug- gestion, he returnedto Hartford and entered the Julius Hartt College of Music. He became a student teacher and;“upon receiving hls B. M. Cum Laude, was appointed the chairman of the percussion department and member of thetheory faculty. ‘Throughout these years he commuted to New York City and continued his studies with Mr. Friese and Mr. Adler. Up to the present time he has played with many symphony and opera orchestras under some of the most noted conductors Because of his fine background, Alexander Lepak was chosen by Alfred Friese to collaborate with him in writing this Timpani book. HA.B, 11( Musical Fo Teovms Accelerando, Gradually increase speed ‘Ad Libitum With freedom Agitato With agitation Alor Alla. In the style Alla Stretta | Accelerando ‘Allargando. | Broadening out Amoroso ‘Mfectionctely A piacere i With freedom Asst cece es Very Atempo - [To original tempo Attacea TITTLILITLIS 22. Goon immediately Ben “Well (as Ben mereato, well marked) Bis Repeat Bravora Brilliant; bold Brio, con. With much spirit Cantabile Ll Lin a singing style Coda -- A ’cupptemest at the end of @ composition Col oF Con. . : With Con amore - | With sffection Con Anima « With life snd feeling Con forza With force Con fuse With fire With spirit With tenderness Con moto of Con Spirito Gon tenetezza ... ee ee eee re eeee Crescendo Increasing in loudness Da Capo From the beginning Dal Segno - From the sign Decrescendo Decreasing in volume Diminuendo Gradually softer Dolce Softly; sweetly Dolcissime veo sweetly and softly E.. : 2 and Elegante 11 Elegant, graceful Bnergico - ‘with energy, vigorously Espressivo . With expression Fine .-+ ++ The end “hecent strongly, diminishing instantly to piano Forte-piano ( ) oe Forrando. « With sudden emphasis Fuoco, con ‘With fire; with spirit Furioso, With fry Giocoso 1 Joyously Giusto Lun atiict time Grandioso wees Grond Grazioso . * Gracefully Largamente « Very broad Legato - vise +» Smoothly Legeiew. « we Easily; lightly Listesso tempo “in the same time Ma. Dees Bat Ma non t09p0 Lively, but not too much Maestoso. tic, with dignity Volume softest to loudest aaieeestno BRNghsengy Marcatto cose: Matked accented Martellato “ Hammered; with mach force Meno Less. Meno mosso. Less movement Mezzo. Half; moderately Moderate vo. c scence nese Moderately Malle 4s ve we a vo DLLs aitueh Morendo LLL. Dying away Baul to rapid ‘With motion Nom. - ange on OB Not Pastorsle “in a quiet pastoral style Perdendosi "Dying away gradually Piacere a ne ae + At pleasure Pluses Te ae aoe eae = More iu Allegro . More quickly Little by little A little faster Poco poco « Poco pili mosso Poco meno TULL a tittle stower Poco pit TLLTLT atittte faster Pomposo Pompous Primo : " : [The first Quast . CUED the style of Rallentando | Gradually slower Repetition Gradually slower and slower «In slower time "Rota, energetic Playfully Follow on in similar style ot part Simply Risalute « - Semper « Always Senz: s Without Sforzando ‘With sudden emphasis Simile. Continue in the same way Smorzando Diminishing in sound Sordina. «« cess mute Sostensto ‘Sustained: prolonged Sotto. - + Below; under plete clo gro ou ose LE Disc cee Splatt Steceato Detached: seperate Stretto or Stretta Increase of speed Tacet. - Silent Tempo F Dive ees Time ‘Tempo primo. - “Return to the original tempo Tensto Held for the full value ‘Tranquillo. Quietly Troppo +++ * Too much Totti - All Vivo Lively spirited Volti subito . “turn over quickly Tempo slowest to fast The 1 wel| Ihe Juice —— : — TIMPANI_ METHOD PART I - Basic Theory CLEFS ‘Treble Clef a op of = cot §{§ § 6 9 2 sae oo SF TOTO" tA mo =o cI $1 MEASURE-BAR Written music 1s divided into a number of equal divisions called measures or bars. Straight ines drawn at right angles to the staff (Bar lines) mark the beginning and end of each measure, ACCIDENTALS + Sharps (#) Flats (b) Double Sharps( %) Double Flats (bb) or Natural (1) signs may be placed before individual notes, Each Accidental is valid for only the measure it is in, A sharp raises a note one half step. A flat lowers a note one half step. ; KEY SIGNATURES A key signature 1s a group of sharps or flats placed at the beginning of a piece of music in- dlcating the notes which will be altered by one half step. ere Dk Ek Ft ch oF ab bb bb ob oh Ob roc = oot og ope co oF fb UO© ENHARMONIC EQUIVALENTS When two notes are written differently but are of the same pitch they are called enharmonic. INTERVALS es of different pitch. Every interval must have ‘kind of an interval and number to the size of the note as one and include all lines and spaces ‘An interval is the distance between two not quality and number, Quality refers to the particular Interval. When determining the size, count the lowest from the lower note to the upper note. ote, the tonic (first note of scaie) of a major If we construct intervals considering the lower n ‘and seconds, thirds, sixths, and key, unison, fourths, fifths, and octaves are perfect qualities, sevenths are major qualities. F Major Maj.7th Per. 8th Perfect, Majand Maj.3rd Per.4th Per.Sth Maj. 6th 1ed when made one-half step smaller. [A Perfect interval becomes diminish .d when made one-half step larger. ‘A Perfect interval becomes augmente ‘A Major interval becomes minot when made one-half step smaller. ‘A Major interval becomes diminished when made two-half stens smaller. ‘K Major interval becomes augmented when made one-half step larger. ‘An interval may also become doubly augmented or doubly diminished. Example: Per-sth Dim. Sth Aug. 5th Maj.6th_—-Min, 6th Dim. 6th Aug, 6th SCALES y A scale is a series of notes inregular ascending or descending order, The three most common types of scales are Major, Minor, and Chromatic. ‘The orderof intervals in a major scale is whole step, step, whole step, half step. 2 whole step, half step, whole step, whole 1 1 Every major Key has a relative minor key using the same signature with ts toni minor third lower, There ‘re three forms of the minor scale: (1) Natural Minor. (2) Harmonic Minor with the seventh degree raised one-half step ascending and descending. (3) Melodic Minor with the sixth and seventh degrees raised ‘one-half step ascending and brought back to the original form descending. yas1 c MAJOR Ls Relative A MINOR (Natural Form) 5° a LS — O20 9 ys A MINOR (Harmonic Form) SS ote 0 tee as ‘A MINOR (Melodic Form) Se atone ee G MAJOR Se ==> Relative E MINOR (Natural Form) x — oa Ss oS oo ee E MINOR (Harmonic Form) e SSS SSS eo a E MINOR (Melodic Form) E SSS SS Se o oe Write out all remaining major scales and the three forms of relative minor scales. ‘The Chromatic Scale is composed entirely of half steps.2 TIME SIGNATURES the number of units ina measure, ‘The lower figure indicates the ‘The upper figure indicates 48 8 34 Example: 4 8 ‘Atume-sigature at the beginning of a piece of musie consists of evo figures placed one above the other in the form of a fraction. | 3 = Number of units (9) Examples. i J Kind of unit (Quarter note) NOTES Whole Half Quarter Eighth Sixteenth ‘Thirty-second ° 7 op » dA RESTS see mar heh yo = = t 7 7 y TABLE OF NOTE VALUES total va of the fi Dotte Yotes Equal Pate 1 petsDOTTED NOTES AND RESTS 8 A dot after any note or rest is equal to one-half the value of that note or rest and is added to its total value. When two dots are placed after a note or rest, the second dot receives one-half the value of the first dot. Dotted Notes TIED NOTES ‘Twoormore notesofthe same pitch may be joined together by a Tid, The first note is sounded and it is continued for the full time indicated by the tied notes, ° TRIPLETS A triplet is a group of three equal notes played in the time usually given to two of the same kind, It is recognized by the figure 3 which is placed above or below it. DUPLETS Aduplet is a group of two equal notes played in the time usually given to three of the same kind, It te recognized:by the figure 2 which is placed above or below it. :“ OTHER UNUSUAL GROUPINGS ‘Any number of notes of equal value may be designated by placing the Proper figure above or below them. Ae 5. Se —— = SIGNS AND ABBREVIATIONS STACCATO SYMBOLS (1) A Dot placed above a note indicates that the note is to be played shorter than the written value. =EEE (IA) Dots with a slur sign indicates mezzo-staccato. (2) ‘The Martellato sign indicates a dry, sharp, short sound, a ee SS ‘The Accent sign indicates force at the beginning of a note. >>> > ‘The Tenuto sign (organ tone) indicates that a note is to be held its full value, =—=—— + ‘The Fermata (hold) placed over a note lengthens it atthe discretionof the conductor or performer. aA = ‘The Luftpausa indicates a stop or break before continuing. SS=5=REPEAT SIGNS 8 ‘Two dots placed before or after a double-bar indicate repetition. Repeat all music between the dotted double bars Repeat the previous written measure, = Repeat the two previous written measures. NOTE ABBREVIATIONS Written SOLFEGE SYSTEMS Theuse of syllables instead of letter names to represent pitches is called Solfege or Solfeggio. Syllable systems produce a mental associationbetween the names of the syllables and the sounds they represent There are two ptincipal methods of solfege: 1, The Stationary DO - 2, ‘The Movable In the Stationary DQ System, C is always called DO. In the Movable DO System, which is recommended to a beginner of sight singing, the tonic (first note of a scale) of the Major Key is catled DO be a mt Fa Sol La ‘The Chromatic syllables are as follows: Do Ti Te La Ti Do Do Ti “Te La Ti Do When singing in a minor key using the Movable DO System, the tonic of the key is called LA.6 PART II -Technique and Facts In this section, problems of intonation are purposely avolded), The 28" pedal Timpani should be tuned with the hand screws to a low F. The 25° Timpant ‘should be tuned to a Bb (sce page 28, Tuning). Until Part, INTONATION is begun, the Timpan! may te tuned from a pitch pipe or instru- sent auchas bells orpiano, When Pact II 1s begun, all aids are dispensed with except an A 440tuning fork or tuning bar. CARE OF TIMPANI HEADS When Timpani heads become too tight to permit sounding the low tones, it is because they have not received proper care and attention, “te portion of the head which turns downward over the edge of the Timpani bowl is called the collar”, Avreasonable amount of collar MUST be kept on the ‘Timpani head at all times 0 that there will be enough “Jet out” to reach the lower Timpani tones - HOW TO KEEP THE “COLLAR” ON TIMPANT HEADS (1) On Pedal Timpani: When the player is through using the Timpani, the pedals should be left UP as far as they will go. This should leave a certain amount of slack in the Heads ‘This slack then should be taken up by fightening the Timpani tension handles until there is at least ‘one-half inch collar over the edge of the ‘Timpani bowls (2) On Hand Screw Timpani: When through playing, all tension handles should be tightened until the desired one-half inch collar” is obtained over the edge of the Timpani bowls. NOTE: course, that the heads at times ‘Applyingtenstonto the heads as described above will mea of .d evenly, however, there is no will be very tight when the Timpani are not in use. If they are tensione Ganger of head breakage, providing the heads are of first class quality. fhe small kettle should be loosened evenly When readsftouse the Timpani again, the handles of t ‘until the instrument sounds Bb, The handles on the large kettle should be loosened until the F tone is teached, This applies both to pedal and hand screw Timpani. If, on the pedal, Timpant, the pedals have been kept at thett highest point of travel while using thehandléstotuneto the notes mentioned above, you will find the full ‘Timpani range readily available faethe pedals are pressed downward. Then, when the pedals are released, it will be an easy matter to reach the low tones. and i snakit nist kettle matin # ain Len essat lined “ND is dei " i WHAT TO DO WHEN “COLLAR” HAS BEEN LOST If it is impossible to "bring back the collar" on a Timpani head because the head has dried out ‘and is too tight, first remove the head from the Timpani and sponge it carefully with a damp - NOT soaking wet - cloth on both sides to within one and one-half (1 1/2) inches of the flesh hoop. Water | must NOT be permitted to get under the hoop! When you have done this, place the head back on the Kettle and slowly and uniformly tighten the tension handles until you have obtained a “collar” approxi- mating one-fourth (1/4) of an inch, Allow the head to dry slowly. Then remove the head from the kettle again and repeat the dampening and tensioning process until the necessary one-half inch “collar” has been obtained, In some instances, depending on the condition or quality of the head, it may be nec essary to repeat this process a third, or even a fourth time to bring back the desired collar. When the "collar" has been brought back, keep it on the head by following the procedure out- Lined earlier and you will experience no difficulty in obtaining the low Timpani tones. STICKS ‘There are two principal typesof Timpani sticks; one with a disc type head and the other a round ball type head. The kind of stick used when playing depends on the quality of the sound wanted. To produce a clear dry sound, the head of the stick should be small and firm. For a more resonant, less percussive sound, the head of the stick should be larger and softer. FOR GENERAL USE, A STICK WITH A DISC TYPE REMOVABLE HEAD OF MEDIUM SIZE AND FIRMNESS IS PRACTICAL. When the atmosphere is dry, a heavier, soft-headed stick may be used, When the atmosphere is damp, a smaller, firmer type of stick may be used; Sticks with wood, cork and sponge heads are uéed only when called for in the composition, RANGE OF TIMPANI NORMAL RANGE EXTENDED RANGE 28" Timpani 25" Timpani 28" Timpani 25" ‘Timpani o Most Timpani parts are written inthe range given for the 28” and 25" Timpani, For the extreme in the Timpani range, special size instruments are used. 2 To playa cea igh ¢ SE] a 0" drum sou be used, : For the low C SFE=—==F] a drum 32 in diameter ot larger should be used. Weather conditions, also the thickness and quality of the head may alter the range of an instrument. H.A.B. 11* TUNING DESIGNATION In some very old compositions, with the Timpani alwaystuned Tonic and Dominant, the Timpant pait was notated in C and G regardless of the key, the pitch being indicated in the left hand comer, InD-A ‘This customary practice was abandoned later and the proper pitch was written, InD-A Changes of pitch during a composition are sometimes designated. Change A to B ‘Timpaniparts are becoming more and more complicated. Most of today's composers write the ‘Timpani part with no tuning designations as they would for any other instrument, and leave st uP to the performer to analyze and figure out the part. In order to do this, the Timpanist of today must have a thorough knowledge of music theory and, above all, a well-developed car, FOREIGN PITCH DESIGNATIONS ENGLISH GERMAN’ ITALIAN FRENCY c c Do Ut of os Do desis wate Db Des Re bemolle Re bemol > > Re sé ED Es ‘Mi bemolle ‘Mi bemol i E ui ui F F Fa Fa ef ris va dosis 4 ties 7 ¢ fot san | ab be La bemolle ta beaat A o- A La La Bb B Si bemolle Si bemol . 1" a a cb Ces Do bemolle Ut bemol tet finger i pos fourth stic!19 HOLDING THE STICKS ‘The sticks are held identically in both hands, The fulcrum point* is between the first joint of the first finger and the thumb with the thumb slightly forward. Pressure is applied with these two fingers only. (See Photo A) ‘The third and fourth fingers, which should be relaxed, are placed around the sticks and are now In position to guide and control the strokes. (See Photo B). The small finger follows the third and fourth but rarely touches the stick. @ © When playing very softly and close to the head, the fingers are-used:to move the sticks. The sticks rock from the fulcrum point, Asthe strokes become stronger, there is more wrist action, When playing very loudly, the forearm comes in to play. Remember that no matter how softly orloudly you play, the pressure point never changes. The fulcrum remains between the thumb and the first joint of the index finger with space between the two fingers as shown in the above photos. POSITION OF PERFORMER When very little tuning is called for, as in the classical repertoire,| the performer should stand. When more than two instruments are used they should be set up in a semi-circle so that they can be easily struckinthe properplace (beating spot) without shifting the feet. The smallest Timpani should be on the right side, the largest on the left. | ‘Whenpisiying exercises or works where there is a great deal of tuning to be done with the pedals, the performer should sit on a comfortably high stool with the feet on the pedals teady for quick changes of pitch. It is necessary to sit when playing much of the modern repertoire *Support - in this book, fulcrum point means point of pressure or gripa STRIKING THE HEAD ‘The student and professional must remember at all times that he is playing a musical Instri- ment, Consequently, the quality of tone produced is all important. You do not strike the head with jt atick ag you would a nail with a hammer; you must think of drawing a pure sound out of your inelni- sent, ‘The Timpani head is a sensitive, vibrant body. When striking the head, the stick must im- mediately be drawn away, allowing the head to vibrate and produce the tone. Make certain that you strike the head in the correct beating spot which is approximately four inches away from the tim of the drum. With a firm fulcrum, practice the following in the three ways designated. Strive for an even- ess of sound PFIR R RRR 2b LLL BRL RLRL mo com not hol Tiss net be the re nif Hlity Lved Th. od MeMUFFLING a i Muffling the Timpani is done by applying pressure to the head with the three fingers that do 1 not hold the stick, or by cupping the palm and applying pressure with as much of the hand aspossible. ‘This stops the vibration which produces the tone. Too much pressure may alter the pitch. Many times both Timpani are muffled together so that the resonance of the instruments will ‘ | not be carried through a rest. ‘A good example canbe found in the second measure of Exercise II. If the A alone is muffled, the resonance of the D which precedes it will be heard through the rest. Both Timpani should be muffled after the A is struck. ‘The following exercises should be practiced in three different ways in order to develop flexi- bility, making sute that the notes are given their proper time values, Muffle every note that is fol- lowed by a rest. 1, Muffle with the hand that does not strike the drum. Use the written sticking. 4 fi 2, Muffle with the same hand that strikes the drum. Use the written sticking. 3. Use your own discretion in combining the methods i described in Number 1 and Number 2, andalsouse whatever sticking seems suitable. MUFFLE BOTH TIMPANI TOGETHER WHEN-NECESSARY. i MUFFLING EXERCISESWhen three or more Timpani are used playing si end of a plece where silence is called for, the last two others muffled as quickly as possible. notes played should be muffled first then the : Example: Example: uuccessive notes followed by a rest, or at the . E | < FSTACCATO NOTES sxacato notes are pesfomed in many ways, depending onthe passage te played and the effect desired. Three different ways are as follows: 1, Completely muffle the staccato notes even when not followed by a rest. 2. Snap the stickdown and off quickly while squeezing the fulcrum point. This gives a short effect because of the impulse of the stroke, even though the value of the note does not change. 3, Rest one or more of the fingertips on the head, to cut down some of the resonance of the instrument, while the stick in the other hand plays the staccato notes as described in Number 2, Practice the following staccato notes in the three ways described above. STACCATO EXERCISES Bi Rt secu j 3 4 4 ‘The term Coperto means mutedor muffled, It isusually done by placing a handkerchief, piece of felt or some other soft material on the head opposite the beating spot. H.A.B, 1x INTERPRETATION {A great deal of Timpani music is incorrectly written, It is therefore up to the musicianship of the Timpanist to interpret a given part. By listening to the orchestra at rehearsal, rather than being completely engrossed in your own part, you will create an artistic Interpretation. For example, many composers will write when they really want 5ee] On a snare drum there would be no difference in sound but on a Timpani the difference 1s very apparent. Some composers will tie a roll over SEES oven wil separate the toll SSA put expect the sound to be continuous into the quarter note. In general, rolls are carried over even if there te no tle except for very short rolls BESSrerrigs sont ase ena: aoup fits on the same line or space which are rhythmically separated. SRE STICKING Most Timpani playing is done hand to hand, but in many cases the hand to hand principle is not the most practical. ‘There are certain slow or moderate passages requiring a perfectly even sound that can only be produced by using one stick. When using this technique, the amount of pressure used at the fulcrum point remains the same for each stroke of equal volume and the Timpani is allowed to sing evenly. Following are a fewexcerpts where playing with a single stick has been found to be most prac tical. EXCERPTS EMPLOYING SINGLE STICKING Nicolai - THE MERRY WIVES OF WINDSOR Overture Modento 5 Ris 3 4 5 PPRRRR Beethoven - VIOLIN CONCERTO Allegro ma non troppo Py RRR ’R Tachaihowsky - ROMEO AND JULIET Moderato assai Onneeie ‘sto 8 is (into feu rth sti ‘ner spee¢ ROLL 8 Ione part ofa Timpani player's technique were to be considered more important than any other (intonation not included), it would be complete control of the roll, ‘The Timpani roll is produced by meansof single strokes R L R L unlike the snaredrum roll which is based on double strokes R RL L. Contrary to popularopinion, you do not always move your hands as fast as possible when play- lng the roll. ‘The-speed of the roll is determined by thé tension of the Timpani head. When playing inthe low registerofa Timpani, there is less tension and the head vibrates slow- erthanwhenplaying in the high register. In order to keep the head in motion so that the sound will be sustained, the single strokes of the roll are slowerwhen playing low notes than when playing high notes. Keepthis inmind when practicing, You will eventually get the right feel and will be able to sense the speed of the roll at different pitches. ‘The height of the sticks when playing the roll is determined by the dynamics. ‘The height will be greater when playing loudly than whenplaying softly. Strive for balance and eveness of sound by making sure that one stick comes up as high as the other and the amount of force used when striking the head is the same in both hands. wae) ye <= EXERCISE FOR DEVELOPMENT OF THE ROLL alo? aya aot wi 2. Adjust height according to dynamics. 1, Start with @ maximum height of approximately I inches. jee jut) (UL 3. Repeat indefinitely, first time ZY, second time mf", third time p, then back to gf . 1 AN 2 AN 39 AN 4 AN RLRLRLRL RLRLRLRL RLRLRLRLRLRLRLRL% ROLL NOTATION ‘The rolls are notated as follows: a —=- crise tes SE wt double rotl == rr meat sol SSIS wih te stokes writen ow, ‘There are three general types of rolls: 1, TIED ROLL — ‘The roll is continued into the note it is tied to. ‘The note the roll is tied to is struck and is actually the last stroke of the roll. 2. CUT ROLL — ‘The roll is stopped beforé the next note is struck. (Read Interpretation page 24.) 3. DOUBLE ROLL — ‘The roll is played on two drums at the same time; the hand to hand principles still being employed ‘The reason for writing two half notes in one measure of 2/4 time in the above example isto show that the D is played throughout the measure and the A is played throughout the measure. JP ROLL - sf ROLL ‘There is a definite distinction between fp forte piano and gf Sforzando. fp means to begin loudly, then immediately become soft. gf means to begin loudly and forcefully, then adjust the volume according to the dynamics of the music being played. # Sp (Continued p) t HF (Continued f) When playing the fp Roll there may be a break between the first and second stroke of the roll to allow the tone to become soft, The roll is then continued. This, of course, is not practical for short fp rolls. i Whenplaying short iprolis, the motionof the sticks is constant, After the first stroke, which is loud, the sticks are brought closer to the head and the motion of the hands is continued without a | break.a Crescendo AND Decrescendo ROLLS Dynamics are all-important in music and they take on added importance in Timpani playing because of the wide dynamic range at the command of a good Timpanist. All marks of expression, terms and symbols in a part should be understood thoroughly and observed to the minutest detail. When executing a crescendo or diminuendo roll, the problem is to judge the distance of the roll in relationship to the tempo, If you reach the peak of a crescendo too soon, or you are not loud enough at the peak, the effect is lost. ROLLING SMOOTHLY FROM ONE DRUM TO ANOTHER When playing a roll from one drum to another, in order not to break the constant sound, one hand may continue the strokes of the roll on one drum while the other moves into position to start the rollonthe other drum. It is usually done by means of a double stroke although at times three or more strokes are played with a single hand while the other moves into position. | | May be played: RLRLRLRR LRLRLRLR L ‘This technique is primarily used for soft or solo passages, “ROLL EXERCISES © Gr “The roll exercises in this section should be practiced with the Timpani tuned to tonic-dominant (DO SOL) of different keys so that you will get the feel of the roll at differ- ent pitches.decresc..- - - ~~ ~~ - - ~~ @ crese.- -0 OSS STICKING ‘The question often arises as to why cross sticking is used at all when it doesn't seem to be a necessary part of Timpani playérs' technique, The most important reason for using cross sticking is to enable the performer to play a particular passage hand to hand, the result being an eveness of sound that cannot be produced by using a different sticking. Cross sticking is not used wherever pos- sible but is used when the character of the passage calls for such sticking. You will soon learn when and when not to use this important part of a Timpani players’ technique , A. When moving from the Timpani in D to the Timpani in A in the following exercise, do not allow your right hand to follow your left hand. Make sure that you definitely cross the right stick over the left stick before the left stick moves into position. x x B. Both sticks should hit the normal beating spot. =#—# oe ‘The opposite RURLRLR L holds true when performing the following passage. = = jolds true when per ig the following passage. oe L RURLRLR CROSS STICKING EXERCISES Strive for an even balanced sound - Play Hand to Hand. x x x Repeat indefinitely1, Practice the second measure of each Cross Sticking Exercise separately and repeat indefinitely at a rapid tempo, 2, Combine the second measure of exercises | to 7 and play as one exercise. 3. Combine the second measure of exercises 8 to Il and play as one exercise. 4, Combine the second measure of exercises 12 to 13 and play as one exercise . 5, Combine the second measure of exercises 14 to 20 and play asione exercise. 6. Combine the second measure of exercises 21 to 24 and play as one exercise. 7. Combine the second measure of exercises 25 to 26 and play as one exercise, WA.B. 11 bei _2 EXCERPTS EMPLOYING CROSS STICKING Herold - OVERTURE ZAMPA Allegro vivace RLRLRL RR RELRLRLR, Beethoven - SYMPHONY No.1 Third Movement 7 35 Allegro molto vivace Beethoven -SYMPHONY No.9 Fourth Movement Presto g® Puccini - MANON LESCAUT4 Q GRACE NOTE EMBELLISHMENTS ‘The embellishments used in Timpani parts are all grace notes. ‘written time value. ‘The grace notes receive no Points to remember about grace notes: Grace Note Principal Note 1, Played before the beat. 2. Softer than the principal note. 3. Open, not crushed. 4. Played hand to hand. ‘the principal note with the right hand, the reason being that the ‘The following exercises should be practiced with the written can, if the part necessitates, end Many Timpanists always play} left hand is not sufficiently developed. sticking toenablethe Timpanist to become ambidextrous so that he a grace note group with either hand, Allegro Example: R R wk GRACE NOTE EXERCISES 1 © aLR tR eLR taL ual ua @ 1. ua R ua RBPART III - Intonation TUNING ‘Tuning the Timpani isdone in two ways, either by striking the head softly with the stick at the beating spot or by flippingthe head with the second finger. For true intonation it is recommended here to tune softly with the stick whenever possible while leaning over with your ear close to the head, With the pedal released, the 28" Timpani should be tuned to a low F and the 25" Timpani to a low Bb by turning all the hand screws evenly. The pitch should then be tested and checked by striking the drum softly at each screw point while the fingertips of the left hand lightly touch the center of the head. When practicing or playing, the pitch should be checked around the circumference of the head in this manner at frequent intervals, ‘The student should lear to tune the Timpani from A 440 which is the standard of pitch and the note the orchestra tunes from. Get a tuning fork, consistently listen to it, and try to memorize the sound ‘When tuning the intervals in the next section, sing the lower note, strike the head softly once, concentrate on the sound, then make an adjustment in pitch if one must be made. With pedal-tuned Timpani the adjustment is made by applying pressure to the pedals to raise the pitch, or by releasing the pedals to lower the pitch. When lowering the pitch on a single pedal tuned Timpani, for example, going from high F to C on the 25" Timpani, release the pedal so that the pitch drops below C, then apply pressure to the pedal until C is reached. With hand tuned Timpani, the adjustment is made by turning the screws evenly, cross-wise. IF A TONE ON THE TIMPANI HAS BEEN TUNED SHARP, A SLIGHT LOWERING OF THE, PITCH MAY BE MADE BY APPLYING PRESSURE WITH THE PALM TO THE HEAD, Above all, DO NOT keep striking the head. This will tax your ear and after a while you will not know what to listen for. In the following section, Tuning of Intervals, the consonant intervals are taken up first, fol- lowed by the dissonant intervals. At this point a review of the section on Solfege (page 15) and Intervals (page 10) should be made, Additional sources of Solfege Melodia - Cole and Lewis Solfeggio - Pasquale Bona Sight Singing and Dictation - WedgeTUNING OF INTERVALS - ASCENDING ‘When tuning the following intervals, the pitch on the iarge Timpani must be established first then the pitch of the small Timpani is taken relative to thet on the large Timpani. Perfect Fourths Sing two ‘Sing: outer notes: jo «Re «Mi Fn Fa 1 2 38 4 4 AH AH AH AH AHL Do 1 AH : os 32 Using this procedure sing and tune the following: Perfect Fifths Sing two Sing: outer notes: Do Re Mi Fa Sol Do Sol 1 2 38 4 8 1 5 AH AH AH AH AH AH AH Sing and tune the following: Perfect Octave: ~37 Major TI Sing two sing: outer notes: Do Re Mi Do 1 2 38 1 AH AR AH ‘Sing and tune the following: Minor Thirds Sing: (Major 3rd) Sing two (ard lowered 1/2 step) outer notes: 1 2 3 | Do Re Mi Me Do I AH AH AK AH AH AH Sing and tune the following: Major Sixths | sinetvs sine sates notes: bo Re MFa Sol Ta = 1 1 2 3 4 5 6 1 AH AH AH AH AH AH A SS == Sing and tune the following:8 Minor Sixths Sing: (Major 6th) ‘Sing two 1 2 3 4 58 6 (6th lowered outer notes: Do Re Mi Fa Sol La Le 1/2 step) Do Le AH AH AH AH AH AH AR AH A ae Sing and tune the following: Major Seconds Sing: Do Re 1 2 Sing and tune the following: Minor Seconds Sing: (Major 2nd) 12 (and lowered 1/2 step) i Do Re Ra Sing and tune the following: Major Sevenths Sing two Sing: outer notes: i Do Re Mi Fa Sol La Ti | 1 2 3 4 5 6 7 AH AH AH AH AH OAH AH Sing and tune the following:a Minor Sevenths Sing two Sing: (Major 7th) outer notes: 102 3 4 5 6 7 (7th lowered Do Re Mi Fa Sol La Ti Te 1/2 step) AH AH AH AH AH AH AH AH Sing and tune the following: Diminished Fiftha 3 Sing two Sing: (Perfect 5th) outer notes: 1 2 38 4 5 (Per. Sth lowered Do Se Do Re Mi Fa Sol Se 1/2 step) 1 5 AH AH AH AH AH AH AH AH Sing and tune the following: | Augmented Fourths | Sing two Sing: (Perfect 4th) outer notes: (Per. 4th raised i # x 4 me of 7 Do Re Mi Fa Fi 1/2 step) 1 2 | a ae biTUNING OF INTERVALS - DESCENDING When tuning the following intervals the pitch on the small Timpani must be established first then the pitch of the large Timpani is taken relative to that on the small Timpani. Perfect Fourths Sing two Sing: outer notes: Do Ti La Sol Do Sol AH AH AH AH AH Al =] Sing and tune the following: Perfect Fifths Sing two Sing: outer notes: AH AH AH AH AI AH AH Sing and tune the following: Perfect Octaves Sing two Sing: outer notes: Do Ti La Sol Fa Mi Re Do Do Do AH AH AK AH AH AH AH AH AW AH Sing and tune the followinMajor Thirds “ ‘Do Ti La Le AH AH OAH OAH Le AH ee ae | Sing and tune the following: Minor Thirds r Sing two Sing: outer notes: ‘Sing and tune the following: Major Sixths | ‘Sing: Do Ti La Sol Fa Mi Me Do AH AH AH AH AH AH AH AH AH Sing and tune the following:2 Minor Sixths Sing two Sing: ‘outer notes: Do Ti La Sol Fa Mi Mi AH AH AH AH AH AH AH Sing and tune the following: Major Seconds | Sing two Sing: outer notes: Do Ti 1 AH AH AR eS ‘Sing and tune the following: Minor Seconds Sing: Sing and tune the following: ] Major Sevenths Sing two lq Sing: outer notes: yl | I Do Ra AH. AH AH AH AH AH AH AH AH AR4a Minor Sevenths Sing and tune the following: Diminished Fifths ‘ Sing two outer notes: Do An AH Sing and tune the following: Augmented Fourths sing vo sig: oom f Do Ti La Sol Se Do Se At At Anat at = SSS Se] | t Sinig and tune the following: Diligent practice in the preceding exercises will enable you to understand and tune any of the other enharmonic intervals not taken up Regardless of what Solfege system is used, Stationary DO or Movable DO, singing half or whole steps until the desited interval 1s reached, the ultimate goal is to hear intervals as individual qualities in themselves so that you may tune the instruments rapidly.SCALE EXERCISES ‘The following exercises should be practiced slowly and deliberately, making sure that each note is in tune before proceeding to the next. When you reach high F on the 25" Timpani in the first four exercise tween the two instruments - you should have a perfect fifth - Bb-F. check the interval be- a ) Bsa > ne os U—e—n $e. — — oe © eo —————— sane Sie ® ee etode Mine @® el When high F is teached in the following exercises, check the Diminished Fifth B-F between the two Timpani. chromatic Scate © Bee Whole Tone Scale ® F-0f_ -————— Pentatonic @ Nie ’ 4 4 | F \ 4 4 qSing and play on one Timpani. 8 Consider the first note in each exercise as the TONIC, a @ Se ee ee = ® = ®4 J GLISSANDO Glissando is taken from the French word glisser which means to slide. ‘A Glissando on the Timpani is produced by striking a note on the drum and moving the pedal up or downasthe case may be, The note that is first struck and the note the Glissando is to reach is | | designated, | : Example: ‘The C is struckonthe count of (I). Pressure is immediately applied to the pedal. The note F should be reached on the count of (2) and is not struck unless designated as follows: > GLISSANDO IN COMBINATION WITH ROLL ‘Todays composets quite often use the roll together with the Glissando, Op Example: EXCERPTS EMPLOYING THE GLISSANDO Franchetti - THE PRINCESS Opera ' PPP PP Lepak - LATIN AMERICAN SUITESa 4 GLISSANDO EXERCISES eps indefinite @ a5" L 1 1 29" 1 1 1 1 ‘Repent the previous excercise as follows: Spm 1 @ ‘The Descending Glissando isless common than the Ascending Glissando and is mote difficult to handle. It is most effective when used in combination with the roll. 25K 1 1 1 26" 1 1 1 1 Repeat the previous exercise as follows:28" 25 26" 25" — FrSET PITCH OR OPEN TONE 8 Some contemporary composers write sections of their compositions with one tone used as a basis for tuning with the pedal released. ‘This conception may be compared to the idea of the open string of any stringed instrument; that is a preparatory tuning of a particular string to a particular pitch. When applied to Timpani playing, this principle allows for easier execution of a certain sec~ tion of a composition which may have many rapid changes but always returns to the same pitch. ‘The student should keep in mind when he sets his "open drum" with hand screws, not to press on the head, for when tuning rapidly on a single drum there is not time for this kind of adjustment. ‘The open tone must be set with the hand screws to the exact pitch without any hand pressure applied to the head, Pressure should then be applied to the pedal, Next the pedal should be released and the open tone checked. If it is too high, an adjustment should be made with the hand screws, It is now ready for use. When playing very loud passages using this principle of tuning, the force of the sticks upon the head may lower the open tone, A slight adjustment of the pitch canbe effected with the pedal while playing. ‘The open tone should be checked at intervals . EXAMPLES Set 28" to 6 - Play on 1 Drum: Moderato 1 & 1 mp a Set 25" to C- Play on 1 Drum: Slow P AN EXCERPT EMPLOYING SET PITCH Set 28" to & Franchetti - THE GAME OF CARDS: 4-80 i 3 P J=20050 TUNING EXERCISES Most contemporary music is written without key signature because of shifting tonalities and root tones, For this reason the studies In this section are written without signature, Each of the following Timpani studies is preceded by a singing exercise based on the Timpani study, If you can sing these supplementary exercises you should be able, with practice, to play what follows. The quality of the sound you make when singing is unimportant but the intonation of that sound is Important, Because of the limited range of some voices, the skipping of octaves at times may be necessary. When changing pitch, the usual procedure is to tune the new note from one already on the Timpani which Is closest to the new note. This, of course, is not a rule but a suggestion, Example: hute couneing te four barrest as oitows @) 23 4, @2 3 4, @2 34, 2 3't singtheap hom the A whic fe the cloSéa eatallshes Safe to I eather fH the D. ‘The exercises in this section are not intended to be sight read by the student or teacher but should be studied and practiced diligently. ‘The tuning must be accurate. Besides tuning problems each study has individual technical and rhythmical problems, A knowledge of thythm is presupposed to a certain degree. None of the tuning is designated, It is therefore up to the student to work out the part for him- self, If necessary, changes of pitch may be written in. If the followifig exercises are studied seriously and can be played accurately, the student 1¢ on his way to becoming a virtuoso Timpanist, capable of handling any part, thorough eview of the sectionon Intervals (page 10) andthe section Tuning of Intervals (page 36) 1s recommended.5 By doubling or tripling the number of bars rest, the following studies may be played with hand tuned Timpant, with exception of No. 10 - 13 ~ 19 - 22'- 23 - 24 - 28 - 29, The following exercises may be played in a sitting position, Sing: Sing: o— = j ae ——— o bo | Play: Jei2052 sing: Play: dJ=80 P —¥ = = = = £ f= P oe = os a = Play: d.=60 pp :—Play:Play:55 Sing: = no —— to = 8 Play: Allegro d-=66 afSing: Play: | Sing: Play:Play: Andante sostenuto 4 =50 : 3 ———— 5 A F ae a Fa aa‘Sing: Play: Play:ee, Sing: Play: dereSing: Play: Andante @=66 P Sing:Sing: a 5a a —— Play: sing: yo SS = = = Play: Vivace d-=12082 Sing: @ Play: Andante 4-66 Jed 4 P sing: ir. ros. | FS a oe x Play: In One dn72 ™p ° 2Play: Sing: Play: 2132 Fast dPlay: Play:—o— a > = S Dene a, ores Sing: o PP: |= 126 HALB. 1fy 7 EXERCISES FOR THREE TIMPANI ‘sing:Play: j.=60 sing @EXERCISES FOR FOUR TIMPANI sing ® Play: Largo d= 30 PP —— — 71 PART IV - Repertoire Beethoven -SYMPHONY No.9 TIMPANI in D. A. Allegro ma non troppo,un poco maestoso. 45, | : HLA.B. 11a tempo. vilard. perese. 3perestn Ritmo di tre baltute, GP Ritmo di quattro battute. 4 1 25 CE atringendo il tomy 8 ine" TE : poree woes apd es Pe “e_ Tg 1% 15L37 Met % an a ee rterd. Molto vivace. a A _ Solo. N vw f Ritmo ditre battute, tS tS f CP a St cP Ritmo ai quattro battat. dim. 14 25 Ss6VA4 1 1 1 4 4 z 1.3.2 30 cE ip crere. F ‘ gd. wripgents sun 9 GF Adagio molto ¢ cantabile, d=so. Andapfemperale,. “Temp: 1s pele Mile Lainems sorapm P remprepinD.A. Presto. 2+:96, 8 ‘Allegro ma non troppo: w > 7 ico Adagio, _ Vivace. Tempo I. Adagio cantabile:Tempol. Allegro assai. Tempo I- ritard. 2 ST 7 vt Allegro assai. S Df ABA] eco Adagio‘Tempo I. Bolo, Presto. spocorilen- Recit. Sf tof 3 4 Allegro assai- calla voce St sempre140 K 62148 _,49 so M vat Lf ca_Anlenie mntsono, Adagio ma non ppoimadivole GNI 23 = Allegro energico,sempre ben marcato. 0 SF oO7 A Allegro manontanto. d=120, ‘prec SSL SSRIS SF poco Adagio. Tempo. pip) PPP Soh ye 4 TS SSL SSL o 1._Poeo Adagio Sf Ff pores a 10 Poco Allegro,stringendo iltempo. Brest 6 Tere. y wr f St Maestoso. d-40. Prestissimo. P1r ey, F WA.B. 11 tn —_ -— Ape a —— Te Be | fates Fa aba al Faaba poate fat Fae fatto | P PP ? SS ‘porerc. molto in B, E | Andante sostenuto . w iB) Un poco Allegretto e grazioso tacet ‘Adagio string, a tempo Trpt. oo (B)Pit: Andante ‘ SP Yim BP - H.A.B. 11PP erene. Allegro non troppo,ma con brio ae haa din. PO DB mare.e breve ‘ealgnde ag minato (Ohi, pape Fo Poeren, “ss Pia AllegroWagner - DIE GOTTERDAMMERUNG Siegfied's Funeral March TIMPANI in 6,Cis,B. ‘Sehr langsam. Lento molto. > PP z ; Felerlich. Cis nachC, 4 Solennemente, BrhC g ¢ F nach @ : P ur farPenfesten 2PTschaikowsky - SYMPHONY No. 4 " ‘TIMPANI F,C,A 1 Andante sostenuto 12 t Moderato con anima. 19 (Mute ¢ in He Ain Fis.) ‘Meno mosso. Moderato assai.quasi a. EZ 3 4 2 412 6 tard. ritard,86 (Tinp.io MH, Fis.) Bon sostenuto fl tempo precedente. - G ‘erescendo stringendo poco @ poco cn a) 70 1 Moderato con anima. ———— crescendo L (ute Win Co Fisin AD| M42.N 13 0 16 P4 1 Sf Modersty, geet quasi angante. Ben sostenuto il tempo precedente. R Allegro con anima. : H.A.B. 11 4Molto By most, “i a If Lt Pik mosto Allegro vivo. a 2 Andanfinoin modo di Canzona. BGA. Pii mosso. B23) ¢ 28 16 D 24 Tempo 1 mOs 3 SCHERZO. PIZZICATO OSTINATO. In Des, As. Allegro... ‘Meno mosso. 16° A 32 B 28 C @ D 39 3 28 E 9 ‘Tempo I.1G 3 7 ‘Sehers¥D. Cal segnd ¢ pot ta Coda. 2. 4 FINALE. Allegro con fuoco. n B66. ef aAndante. 6 ad mrernnamars) E 24 F 26 If FF Tempo 1 PPa Strauss - DEATH AND TRANSFIGURA TION TIMPANI in C. G. u. Es. Large. .., PP aotee A te P Allegro molto agituto. noo rit. 4 _E 46 It Es nach Dumstim. gp. j fidin. p OF oe — 4 atemy form poco riten. ig If pore rite2 meno moaso_ma sempre alla breve 20 pp ‘PPP un povo agitato Etwas breiter. oo se Fra rte 2 np of OQ oa a C nach E umstimmen. 2 mit Holzschligeln. vit, tempo ‘dim, D nach H umstimmen, Ss, St SF 3 E nach Es umstim, Es nach Des Enact C unstimmen, UT pe 6 z 8 alert Sets beak string. 7 Tim. ‘ealando = IF calando- = pee = == Tempo der Einleit ido empo P Largo. 5;Allegro molto agitato, aren allargndo. = = = ~ ~~ - - - Moderato. eee ee Ss Mie ee a 2. Tim. we | Me IS os se PStrauss - BURLESQUE IN D MOLL for Piano & Orchestra TIMPANI. F,E,D,A Alllegro vivace 4 | 16 Fi 20, ferove f t Copyright Edward B. Marka Musle Corp. - Used by permission. wfa tranguillo feroce « tranguille feroce 4 og 1 4 of 2 tranquillo poco pit tranguillo tn un poco animato 2 Ff ? P string. Piano 18 7 1 omyD'Indy - JOUR D'ETE A LA MONTAGNE Lento assal 1 pp—_ ff —— Pp PP pp Perminsion for rprint panty Durand & Cie, Pari, Copyright owaere kan-Vogel., Ine., PBadeiphin, Pa, agent Shostakovich -SYMPHONY No. 1 Fourth Movement All? molto Lento 1O6@? -pOSEOSO2 ® alle mal ®@4@ 4 f= Fas © 1 @ 10101 Orbs: @® - 2 of ® mer 4@4@s@s is 1 _@ 1 = f Gis to C AtoD Copyright, 1045, by G. Schirmer, tne, - Used by permiseion. Ct Es H.A.B. 11Meno mosso ALI molto n @u@w@zi@ 4 @O4@s 5 @1 @® 3 @41@1@4@1 1 rit. =i F 1@orngpe Adagio @ ae LaF pep iF Vp pp @ sane (©) 1 solo ®, 1 1 Pp @ 2 @s'@4@"" 4 3 4 ® Presto (in 7 1 1 1 1 f © Sf @1 P crescendo. - - - - - -~ - S&F H.ALB, 11Rachmaninoff - ISLE OF THE DEAD PP — poco crese. dim. PP — 7 Peres. mf dim. ‘poco eres of ‘With permission of Charles Foley, New York, N.Y.P dim. pp P crese. mf dim. -—p i i ssp pi sips 12 gn SEP TAT ch 3 4 P . . “EtG P SSS p cree --f m f mp f ™ ® crese.‘Tranquillo Largo 2 @® pf dim. p 1 3 © 18 p—=7f dim p rit. BY to AN - Gto low EA @® a tempo 6B @m 1 1 Tons. a Piu vivo JAD dnb dob 4 1 QW I All? molto Trdg dd TR pd ot 4 i dim. 1 pit erese ff dm : mdTS qu do Peas]¥ x Plu ae . we 3 ® 1 PP P crese. 1 Solo PP PP © “let ringwe Rachmaninoff - SYMPHONY IN E MINOR 1 (0) 1 ob. = 3 Poco pit mogso 4 tomo 1 6 @ 2 4 THA ‘Allo modto o” SUS 15 14 © 6 ©3 3©@ 2 ape = 1 "10 © 10 Tit. we 1@4 12 a co rie atempo poco a pocorit. F_14 Wpiwmosco @ 4 4 P dim. @ 15 __ meno mosso pp ——— mf dim pp owt @®_i6 Bass Clar, so pf din“ ‘with permission of Charlee Foley, New York, N.Y103 Meno mosso 2 pp ™f> pp Pp—= = PP F HA.B. 1104 Nowra 1 ® a ® Meno monte on @ 4 10 a tempo —— i Piu mosso 1 1 P P poco crese. > > poco @ poco - - SSS 1 1@ p— ff =P c, B, BA105 Allegro mol ape _16 1 1@ 2» f marcato poco a poco dim. - ~~ sp PP Modto a 8 OB mw 5 @® i accel. f ‘Meno mosso f 5Ow@3 - i @a106 P— PP ® Ff poco a poco accelerando ‘Tempo I po oe 1 fi@s 15 @s f f f f marcato a poco dim. con moto| 107 \ : 3 4 1 6® 7 @s @6 Adagio THE. cmpe = rit. aieape 2 "4 @u@v@s 7H) tempo 1 5 a@t@i2@ 8@ 1 | Sf dim p= P= B 2 Tempo 1@it ¢ a ——1@ 1 31@ # f P > cia 10 AD 14 @® 22 —— - - - - - rit. a @u@u f ORMOMIORHOM ‘Tempo pressedente 4 2 w@* .%, . *% 2”, 8'@a4 aie. Pim. oi . oe. erees Be Tasne (poco crese.| \ | | 110 Barber - ESSAY FOR ORCHESTRA Andante 95 mdi 9 1 2 pre P—=f =p s “Mir gp nu Bu wOn My. ex Bu Mewes 2 24 eT Tt Fron Celli sMo9 “Loy 3 ett t Ft Allagendo- - 2 2 - - molto rall.....- parser ‘Copyright, 1941, by G. Schirmer, Tne. - Used by permission.m Hanson - NORDIC SYMPHONY Andante solenne GREE 3 1 2 « A unpoce piiianimato mp nf 1 Allegro con forza Pp erese. ed accel. mp = fem >> bo Ce ——— —=—=—_ f F Bee ee tet Spon yon (p cresc. ee — tune G to Ab 5 C (metm) 15 (Peco meno mosso 38. pi arimato =—_ If pit animato & tune ab to G ‘Copyrighted by Hantman School of Muse, Rochester, N.Y,2 G tune Eto ED, B to BD 3 gf” =—— — mmf cresc. allarjando——— ff 9 Som _s co meno mosso P a ~ = crese. wT = P f rece fee tr — —= Ff f = > tune Gto A, E to D 2 Sp mf erese. f H.A.B, 113 tr s WN. Peco meno mosso f = “hme AG, Dio Grr) nif orese. P &. Sra panne Ope ee ee crese. & t a¢ f sy tune G to Gb =f din, 8 a 2 _ OR 3 1 2rT) bp tr——~ T Op if

my cresc. Molto meno mosso Gree ee Se Gree f—— FIN2 Andante teneramente, con semplicita Pore 49 A atempo 1 1 PSE (b-Sete) 4 1 8B Un poco, piu animato E16 Allegro con fuoco Bape 4 TA ——— ato rt 1 _ toe F —— _——$——_ frreeeteeeeeeene Gf Unpoco meno mosso JH ~ P f| | ‘ > f Molto meno mosso St” dim. a 4 mf "ms Q FINALE GtoBD119 eresc. Molto meno moss Y soto 1 2 3 4 | if sir? 3 HA.B, IRandall Thompson - SYMPHONY No. 2 First Movement 3 © 5 Allegro molto 3 f pf nf —— @ 3 1, 4@ 8 @15 O12 — = fe - t © un O©i9@ 6 1am (OHORO) 3 PP Pp P 3 3 3 3 5 my @s O©u@n® _ 81a Walton - SYMPHONY No. 1 Allegro assat Groh ‘4 Pp : Reprint by permission of Oxford University Prone, Copyright 1096 in USA B all couniroa,all rights reserved,m2 1 5 1 2 w@®u@2 4 > ChioB FED rit. — @1 7 23n@®@ 6 @1 2 3 4 5 8 1 1 rit. fp tp 23 1 2 3 4s @ESAT14 18 @ 4 “WP syome BPto A rit ff > > = Pron con malizia . 3@® 13 1 1 mf 1 1 1@ 19@u@5 5 ——— fF" 0 @ 2 2 2 2 @:-3@ 5 @ 16 1@ 2 4 @ 8 rH15 ®©1@0@1 1 $@1 1 8 : 0 @u@ u@ 5 z121 3 0 @ 3 ® 8®©®s@1@O3@1@ 2 PPP 2 6 1 atempo rit. mf EP > a S 3 @e temp 4@a On Sg rit din.‘Maestoso 1 eS nf— f f= # 1 | mf ee pn @, 4 4 141 Le 2® po>> > se > @s 6 f—If = Bto @s5s i1@ 3 1 2@3 4 1 @ 71 @ 10 ee See SalPoco Allargando Piu molto 1 1 vtvctestas fh @ 6 @n®@6®@ s 2 : nf—=f = 2 2 ® 9 @ 15 @ 2 ls @e@u 2 1 f foe 1@3 @w@w@w@s 3m1 z = oy Sf P=f fo) Pi z = tf Pity 7S f=P— If - PF =P f Pay” Sfp * Sp * Spe * rT = molto > mele i >—wsr | x mw > 2 molto ~ er Spray > pte ee misty * in BD132 Wm. Schuman - UNDERTOW "Choreographic Scenes” J=56-60 9 4 _ 2 =f — @ 3 4 Q_ 4-80 L. nf ff of @i-e 19 =? Sele 2 @ 1 peor ff Religioso 1-48 16 & # @ 2 3 accel. 1 Copyright, 145, by G.Sehirmer, Inc, ~ Used by permission.133 ‘With tremendous anguish 1 @ Sr 1 ca H _A Preto @ 19 @ 1 SF Pp : p> —— a @ # # —= — SS ? =f SP 1 @1 # s 3 # & @14 | | Won. Schuman - CIRCUS OVERTURE \ SIDE SHOW eo Presto 4 SE —_—_—_—————— sf “Conyigh, 1844, by 6 Sebtrmer ne, ~ Used by permiasion,135 Hanson - SYMPHONY No. 3 1 wage og Oi 2P ® 1@5 103 1 29 38®© 3 6. 1 @© 3 oy anunando pe 1® 1 © temmmnnaamar tramein Geren Sere mfp 1 2. > ~ ») Maestoso 2 ee ee ee nen bra ope es eee @ 1 3@1 2 ea oe tearm 5®, 4 ve ee E 1 aaa se ® OF? 1@n@ 1 1 ss se 7 s@y ao 2 > P O es 0. 5 @ . ® OG 6 SD hae boo, on @ . 5 7553 FEAPE| =———=S == et ee — ff ht ‘Gonyrghed by FastmanSoboo! of Musle, Rochester, N.Y. WA.B, 12 wey ot 2 108 1©@ 2,12 1@ u@ 12 sas 1) , “© ‘ad| 131 3 1] Scherzo 92138 ® 13® 4 mf ed _23® 2® 4 4@ 2 —_— "ig Os. reo ORTEORE mn) 5@s@® 8 wf @b@ s@. P br. br: a 0ee ene AS BATTS Be 139 4 sages 1D ; Fo a et o> Gs ® 1 2 8 9 4 a pp 1®@ 2 1 6@1 7 1@ #4 1@w@ 11} 1 6@s ® 2@6@s frreasanansenms foarnmnnreerte > 1 Og ee ee 5 Ezz} ea O8 2 910 11 12 13 14 15 16 17 4 ; hea ll to®) 1 7 a@)¥ 10 11 12 13 5 6 7 8"od Noak - RONDO FOR TIMPANI & PIANO dedicated to Mr. Alfred Friese Allegro con fuoco For 5 Timpani 4 af1wa Barber - SYMPHONY IN ONE MOVEMENT Allegro mn alenpo 1 ® 7 2 1 3@2 6 2 VKiola ® 1 ‘Tempo T pe OF © agenps 4 D1 Sit POSS poe at 2@1 Solo Pp PP 1@1 1 2 2@ 5 1 pt xf 2? 2 Copyright, 1944, by G. Schirmer, tne. - Used by permission.3 @)1 animate (2) Sole 1 @® By Allegro molto a 2 f —— ~ =P 1®3@ 10 @ 4 @ 16 celle rhch 41@a 14 Vint Pp he gs a os e @ +22 “p0e0 mf poco @ poco @ 171@x% 3. 1 5 fl oR RR RIRL Ftoek Pp. sf 1@ 1 6 Pp ae cm Andante tranquillo 5@ 1 8 PP chtoc# 2° @ 11 1@1 5 2 1@2 14 rit. @ lempo H.A.B. 11a ee 45 4 1 poco rad. a 6 4 Largamente 1@ fF 7 pp stringends ~~ —~ f H.A.B. 11Franchetti - THE PRINCESS 3 TIMPANI det0 Zz 2 fi pp sempre Agitato J=60 (D=112) Pp P Ce SS : son stone 2 D-d= 60 1@4“1 Largamente J= 66 & Molto lento e rubato J= 40 Genza mis SS ppp PH largene Sostenendo d= 42 2 ded. PP malts espressivo Pooe,moderato poco rit,148 Molto mosso ( J)=160) with Drum Sti 1 bran PPP fs @1 —— PP P pp ems. = mf —=f im. with imp, sticks bom Qn 1 1 ebrasenen, oP —=_ PP Liberamente Liberamente a d=50 with Soft Sticks a PP 2@ 2 a 4 @4 ‘poco rie. Mosso libero S112 he) rit. p= mf149 Liberamente + - rempe Liberamente Gpeseeeeerne Peaz0 S20 a Estatico 1580 Gpecvcnesaee a fay << PPP dip biberamente PPP 4-50, 60 Estatico d+b2 1-30, 60 PRP Liberamente 1 a "EX-PIR- ED") Poco mosso J=60 2 @ a2 Ep sempreFranchetti - THE GAME OF CARDS 3 TIMPANI FGA Paesto (J+ 200 J: 4 sempre) MEDIUM Maia OF din at eresc molto11 Lento e rubato sec. (0 + dca. $0) fren => a Agitato (3 = 420, 132) a Military D t pep sentilo fF -————_ ee ee 2777 Paco meno(d = 00) 4 f £ f Libero, rubato Jea:freviousd a b f P £ Joo J ; (4 soolLibero e rubato (slow d ) ba pSinborntnf orice te e Ad) Morendo (dette senpe (gy yintpendeal fren x ———_! : (Sele) ed Lb Hare te _lnReoVivace_(d +92) ‘Ploy HA.B, 11182 (d= 100 ds sempre) __inkeendevbof vice oe —— PR Honestly UnPocoVivaceld + 22) henge fedtiitarydum A BR seeps = poe —— pf m Pai ed PiuMovendo o> —— «ff pf ® # = Teri Setlda) 4 of x Ff —_¥ changoto Jimpani_2 2 riterande ,;—_ — # Roughd:22 Ting Selo, a 2 much stoner (hone d-(Jeaso change to Military Dru? 3 SS eee —S — —=—— PrP ——— SSS SSS SS fh PiuLento rilen.... Ue ?— pocopiu dr 68 2 # cambya to Tinga’ rx corese y Rape and Blood i (J +92) (>: )) a masse non tre Timp 4 EDU153 ; 5. Lambellogd + 98) a Mill se 4 1 Sppsenpre ils gas “ be rome Tenpo Del frincigio (4 » 200) MEDIUM to A LARGE P crese . MEDIUM chanyequithly fo Militry Drum Meno 0+ d\(¢a- 60) RubutoSolenne Solo LARGE MEDIUM J: 56 Timp wooden sticks od fibitum 5 ne, VivaceScherzando 4 (2 $32154 Presto Agitato (J. =132) DD compre Small - Medi Ting stocks. ONE PLAYER Large Liberemente 7 (d= 160) aur arms pause —e— Beconds155 Alla Marcia. Moderately Fasl(d +80) 2 2 i ‘ep sella Gong with Tims sik PER wooden slicks" > Psentito Ting Sticks Timp sticks 2P> z 7 z Timponislicks wooden sticks 2g Teneo Del Principio d= 20° ‘MEDIUM, LARGE Sliss. e157 tance 50°95 combia to Military drums A ; ~E a Heavenly Reward 2 memorare a, Morende Un Paco to Timy ' Pee P sentile enti asso Agitato (d +92) SMALL | | i d ot PR" Larghetle bspressive(d 30)Forioso (J+ 152-160) swat ,° 5 LARGE F lef PP #P smatn, STS MEDIUM ov % arghetto(d= 38 5-92) LARGE Larghettold Grow ve ye 2 ” TempoDel Principio Aulergo re ben Fi 4-2 7 | ss ‘ LS ae Fa f= Larghelle deao id senpre, "—_—_Seltsliths fp. ys oe fe 4 7p ‘PPsempre LARGE SMALL rg morende