representing the tragedy and heroism of Coriolanuss lifeare placed in

stark relief over and over again in the overture. Only in the nal mea-
suresin deathis the struggle between the tragic and heroic gure re-
solved. Thus, knowing something about the universal themes that pushed
Beethovens pen helps the musician develop a deeper appreciation of the
meaning of his music.
Ultimately, the composers intentions are revealed in the musical
score. The score can help timpanists determine how their part is integrated
into the harmonic, melodic, tonal, dynamic, and rhythmic fabric of the
piece. The score is particularly helpful in dening the amount and kind of
articulation, melodic or harmonic support, and dynamic contrast de-
manded by the music. Comparing the timpani part to the score can reveal
when to mufe a note or when to let it ring through. If all instruments end
a phrase on an eighth note, the score might suggest that the timpanist
should immediately mufe the drum rather than carrying the tone over
into the beginning of the next phrase. The score can also help the timpanist
determine when to mufe the drum for harmonic reasons. Since the tim-
pani is a legato instrument, a note must be allowed to sound and ring to
achieve the full effect of the drum. Letting the drum ring full and resonant
often supports the harmonic structure of the music. If, however, there was
a key change immediately following a timpani passage, the timpanist
would likely mufe the drum to avoid any unwanted dissonance. Finally,
and as discussed fully below, the score can aid the timpanist in determin-
ing the kind and character of accents and the dynamic shaping of phrases.
For example, timpanists can crescendo an ascending line and decrescendo
a falling line. Perusing the score is critical in interpreting Francis Poulencs
Concerto for Orchestra, Strings, and Timpani. Poulenc scores each instru-
mental section at a particular dynamic level. While the organ is playing forte
and timpani may be written at mezzo forte. In these cases, the score is help-
ful in identifying those parts in the score where timpanists should adjust
their dynamics to contour their part to other instruments in the orchestra.

Phrasing and Articulation

In interpreting music, the musical phrase is important. A phrase is a mu-

sical idea: the phrase may be one or more measures long. Hermann Keller
reminds the musician that a musical phrase is much like a verse in poetry
or an unbroken sentence: it may pause, slow down or speed up, grow
louder or softer, and grow more intense or more relaxed (Keller 1965, 13).
Above all, a phrase has a spiritual meaning that is shaped by its rhythm,
melody, harmony, tone color, articulations, and dynamics. For Keller, the
greatest masters of music give performers the latitude to phrase passages
according to the demands of the piece (Keller 1965, 1617). Let us exam-
ine some of the ways timpanists can breathe meaning into a musical
phrase. First, the phrase may be shaped dynamically. Often it makes good
musical sense to increase the musics dynamics as the melody ascends and

38 Timpani Tone and the Interpretation of Baroque and Classical Music