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The document discusses how timpanists can control the tone produced on timpani drums by varying the playing spot on the drumhead. The optimal playing spot is typically 3-4 inches from the counterhoop, but moving closer to or farther from the center can produce different tonal qualities. Playing closer to the center makes the tone darker and less resonant, while playing closer to the counterhoop brightens the tone. Timpanists may also vary the depth they strike the mallet to bring out different tones, such as emphasizing the fundamental pitch or lower partials.
The document discusses how timpanists can control the tone produced on timpani drums by varying the playing spot on the drumhead. The optimal playing spot is typically 3-4 inches from the counterhoop, but moving closer to or farther from the center can produce different tonal qualities. Playing closer to the center makes the tone darker and less resonant, while playing closer to the counterhoop brightens the tone. Timpanists may also vary the depth they strike the mallet to bring out different tones, such as emphasizing the fundamental pitch or lower partials.
The document discusses how timpanists can control the tone produced on timpani drums by varying the playing spot on the drumhead. The optimal playing spot is typically 3-4 inches from the counterhoop, but moving closer to or farther from the center can produce different tonal qualities. Playing closer to the center makes the tone darker and less resonant, while playing closer to the counterhoop brightens the tone. Timpanists may also vary the depth they strike the mallet to bring out different tones, such as emphasizing the fundamental pitch or lower partials.
the one playing spot that best brings out the kind of sound they want.
Therefore, selection of the playing spot is important in determining the
amount of tone or articulation that is produced in normal playing. For a discussion of nding the playing spot, visit the companion Web site. The Evans Strata head mimics the tonal architecture of calfskin tim- pani heads. However, there is no discernable backbone with playing spots on either side of that backbone. While there might be one part of the head that produces better tone color and ring, other parts of the head produce a very ne sound.
Playing the Head
There is consensus among timpanists that the playing spot is normally
about three or four inches from the counterhoopdepending on the diam- eter of the head. This produces the best tone with a centered pitch, rich in partials. As one moves toward the counterhoop or the center of the tim- pano, the color changes. Playing toward the middle of the drum produces several changes in tone. The tone becomes noticeably darker; it becomes less resonant, loses its pitch denition, and becomes more articulate. The tone brightens as one plays progressively closer to the counterhoop. It also becomes less resonant, loses its pitch denition, and produces a much thinner tone. The timpanist may play on different parts of the head to achieve the articulation or tone color most appropriate to the music. Timpanists make use of the tonal qualities of the head. Under the most delicate circumstances when a crescendo roll must emerge from virtual si- lence, some timpanists nd it helpful to begin rolling very quietly near the esh hoop, and as one crescendos, move slowly toward the playing spot. But the timpanist rarely plays near the counterhoop. There are times when it makes sense to move out of the playing spot and play more toward the center of the drum. When a more staccato sound is neededespecially if the timpanist is unable to change to a more staccato malletplaying more toward the center can give the note a shorter, more percussive sound. Ar- ticulate piano or pianissimo passages can be effectively played by moving toward the center of the drum by about an inch or sodepending on the level of articulation the timpanist wants to produce. For an explanation of how to articulate staccato notes in quiet passages, visit the companion Web site. The quality of the sound can be crafted by varying the depth of pen- etration of the mallet into the drumhead. It is possible to play on the top of the head, the bottom of the head, and in between. The purpose of play- ing different depths is to bring out contrasting tones. Playing on the top of the head produces a tone that creates a strong fundamental pitch and rich partials. But when one plays the bottom of the head, the fundamental and lower partials are emphasized at the expense of the upper partials. Some timpanists object to progressively playing deeper into the head. They be- lieve this technique changes the pitch of the note. In the authors opinion,
18 Timpani Tone and the Interpretation of Baroque and Classical Music
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