Common Brands and Models
Usually, there are 5 drums for timpani players with the sizes of the Timpani being 32", 29", 26", 23", and 20". Many high schools only use 4 and junior high schools generally have 2-3. If you ever need to purchase timpani and are looking for the most common 2, go with the 29" and 26", then you can add a 32" and a 23" to complete a 4-set.
*Note that timpani are NOT required purchases and both Centerville Jr. High and Washington High School have between 2-5 timpani.
Brands/Models
Ludwig
Yamaha
Adams
*Note that timpani are NOT required purchases and both Centerville Jr. High and Washington High School have between 2-5 timpani.
Brands/Models
Ludwig
Yamaha
Adams
Maintenance and Set up
Timpani should always be handled with care. I know they look big and tough; however the head can be punctured any number of ways, the bowl can be dented, and the pitch gauge can be knocked off relatively easily.
Set up and Care:
1. NEVER USE A TIMPANI AS A TABLE
2. Always use a cover on the timpani to protect it from dust and casual bumps. I suggest a full slip cover, but those can get expensive. If cost is an issue like it is at my school, a thinner slip cover works, but there is a higher chance of damage to the timpani.
3. Check the heads regularly for any dents or small pinpoint holes. Heads should be changed every 1-2 years or as soon as they begin producing a "dead" (non resonant) sound.
4. If your timpani has a tuning gauge you should check the accuracy of the pitches roughly once a week as heads can stretch with use.
5. DO NOT touch the mallet heads with your hands.
Set up and Care:
1. NEVER USE A TIMPANI AS A TABLE
2. Always use a cover on the timpani to protect it from dust and casual bumps. I suggest a full slip cover, but those can get expensive. If cost is an issue like it is at my school, a thinner slip cover works, but there is a higher chance of damage to the timpani.
3. Check the heads regularly for any dents or small pinpoint holes. Heads should be changed every 1-2 years or as soon as they begin producing a "dead" (non resonant) sound.
4. If your timpani has a tuning gauge you should check the accuracy of the pitches roughly once a week as heads can stretch with use.
5. DO NOT touch the mallet heads with your hands.
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This is an example of the "slip cover" variety of timpani covers. While the cover does a reasonable job of protecting the heads from dust and debris, it is not heavy enough or long enough to protect the bowl from bumps, brushes, or potential thrown objects (which shouldn't, but can, happen in a band room situation). That's the reason why I highly recommend the full drop covers.
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How to set up timpani for rehearsal purposes:
1. The timpani should be organized by pitch/size. For example, the lowest/largest timpano should be on the left while the highest/smallest timpano should be on the right. 2. The foot pedals should be arranged facing the performer. The pedals will be in a slightly different arrangement if the performer is sitting or standing. 3. The mallet stand can be moved depending on preference; however I've found that putting them on the left allows for more room for the stand facing the conductor. Note that the stand is covered by a black towel to muffle mallet changes. The corners of the towel are tucked under in order to avoid the edges dragging onto the timpani heads. All mallets have the sticks facing the performer for ease of change. 4. The music stand meant for music is tucked between the 29" and the 26" timpani. Line the stand up with the conductor and make sure you can see the music, the conductor, and the drum heads. |
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Many percussion students I see coming into my junior high and high school classes don't know how to properly move a timpani. To the left, please look at a short video that demonstrates the correct way to move a timpani across a room.
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Mallets: What to use and when to use them
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Not only is it important to know the different types of mallets one can use in a band or orchestra setting but to be able to figure out when a certain passage calls for a change of mallets.
In most pieces, more than one mallet will be used depending on the requirements of the piece. Mark your music according to the style and type of mallet to use. Some people use numbers or colors directly above the needed switch section to make the switch easier. A quick rule of thumb from Cary Nasatir (well known percussionist from Castro Valley, CA): The more rolls and legato passages, the softer the stick. The fewer rolls and more eighth notes and sixteenths, the harder the stick will be. |
Below, I have included a couple of photographs regarding stick placement while not in use. As you can see, an upturned music stand with either a black towel or foam material makes switching mallets practically silent. Just make sure the head of the stand is tightened enough!
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Standard Timpani Grips
There are three different mallet grips commonly used; American, German, and French grip. My students generally use French grip in their classes based on my personal preference, but you should find the grip style that suits you and how you play. Ask your band or orchestra director if they have a preference before deciding for yourself!
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German Grip
Looking at the photo to the left, you can easily distinguish the main characteristics of the German grip. The palms are down facing the timpani head, which is similar to playing mallet instruments or the snare, while the thumbs face each other. |
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French Grip
The photo on the right demonstrates the differences between French grip and German grip. The palms, instead of facing down, are perpendicular to the head and the thumbs are pointing straight up. |
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American Grip
The American grip is a blend between the French grip and the German grip with the palms/thumbs at an angle to the drum head. |
Playing Area
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The proper mallet strike position is from 2-5" away from the rim. A quick measurement technique is to hold your closed fist perpendicular to the rim to gauge roughly 3-4" depending on the size of your fist. With smaller drums, the strike zone will be closer to the lip of the timpano while larger timpani will be farther from the lip of the timpano. Do not play in the center of the head unless it is written in the music.
See also: "Basic Strokes and Rolls" |
Timpani Sizes and Ranges
Timpani sound the best in the middle of their marked ranges. Too high reduces resonance and too low creates a flabby tone. Just ask your section leader or Ms. Mitchell if you're uncertain which drum to apply to which pitches!
Tuning
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The advanced timpanist usually use a tuning fork in the key of A in order to figure out the correct pitch of their drum as they have memorized all of the intervals (see below), but as a beginning/intermediate timpanist you may use a mallet instrument or a pitch pipe to match pitch.
1. Start the pedal at its lowest position 2. Play the pitch you are trying to match on the mallet instrument or pitch pipe 3. Sing or hum the desired pitch-- this step is incredibly important, do not skip 4. Strike the drum very lightly while pressing the pedal down so the pitch will rise to the desired note- keep humming until you reach the pitch and then double check with the mallet or pitch pipe 5. Stop the pedal's movement once the desired pitch is reached |
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To practice tuning, start on the lowest standard pitch on each drum. Using that pitch, sing or hum the first five notes of the major scale. Then practice matching pitch from the lowest to highest note on each drum.
Ex. On the 29" drum the lowest note is F below bass clef. Match the F pitch with a mallet or pitch pipe and then sing the first five notes in the F Major Scale (F, G, A, Bb, and C). Lastly play the notes of F, G, A, Bb, and C on the drum. Repeat this exercise with EACH drum, though the key will change each time.
Ex. On the 29" drum the lowest note is F below bass clef. Match the F pitch with a mallet or pitch pipe and then sing the first five notes in the F Major Scale (F, G, A, Bb, and C). Lastly play the notes of F, G, A, Bb, and C on the drum. Repeat this exercise with EACH drum, though the key will change each time.
Intervals
Interval Number of Steps Reference Melody
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Minor 2nd
Major 2nd Minor 3rd Major 3rd Perfect 4th Augmented 4th Perfect 5th Minor 6th Major 6th Minor 7th Major 7th Octave |
1 half step
1 whole step (2 half steps) 1 ½ steps (3 half steps) 2 whole steps (4 half steps) 2 ½ steps (5 half steps) 3 whole steps (6 half steps) 3 ½ steps (7 half steps) 4 whole steps (8 half steps) 4 ½ steps (9 half steps) 5 whole steps (10 half steps) 5 ½ steps (11 half steps) 6 steps (12 half steps) |
JAWS or Oh Danny Boy
Happy Birthday What Child is This or Greensleeves Kumbaya Here Comes the Bride Maria (West Side Story) Twinkle, Twinkle Black Orpheus (A Day in the Life) NBC Theme There’s a Place for Us (West Side Story) Somewhere Over the Rainbow (notes 1 and 3) Somewhere Over the Rainbow (notes 1 and 2) |
Basic Strokes and Rolls
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Watch the video on the left to review French grip, simple strikes, and speed of rolls depending on the timpani.
Remember, when you roll you WILL NOT use a double stroke roll on timpani. Ever. Don't do it. |
Dampening
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Dampening is a skill used very often to reduce resonance at the end of particular notes, especially when the style of the piece has more detached or marcato lengths.
The video on the right is the basic technique behind dampening. |
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Basics of Cross Sticking
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To the left is a short video on the basics of cross sticking, please keep in mind that Ms. Mitchell is showing the concept, not perfect execution. Feel free to look up additional information on timpani technique at vicfirth.com!
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