Whether a timpanist is left- or right-handed can affect phrasing of

timpani parts. Timpanists are trained to play evenly with both hands; that
is, strokes made by either hand should sound similarin tone, articula-
tion, and dynamics. However, most timpanists are either left- or right-
handed. As such, they will naturally begin or end a note or passage with
their favored hand. As Fred Hinger notes, the strong hand tends to play
more afrmatively than the weak hand; thus, the stronger hand should
play the pulse of the rhythm. This leads to a more effective rhythmic phras-
ing of timpani passages. However, there are times in which the leading
note (the note leading up to the primary beat) should be emphasized. In
these cases, timpanists can play the leading note with the strong hand leav-
ing the weaker hand to play the subsequent note. As Hinger notes in the
fourth movement of Tchaikovskys Symphony No. 5 (measures 523526),
the quarter note preceding the downbeat of each measure can be played
with the stronger hand and the downbeat with the weaker hand. This
phrases the passage most effectively (Hinger 1983a, 17). See the compan-
ion Web site for a marked timpani part.
Learning how and when to articulate passages is a fundamental skill
timpanists master. The timpani are in many ways sustaining instruments,
and as such, it is more difcult to get an articulate sound out of a sustain-
ing instrument than it is to coax a legato sound out of it. Therefore, tim-
panists struggle to nd ways to articulate passages effectively. This includes
using mutes, harder sticks, free ngers, mechanical mutes, articulate parts
of the timpano head, the grip, and arms to achieve the proper articulation.
Absent directions by the composer and conductor, the timpanist must rec-
ognize when a passage must be articulated or punctuated. As described
earlier, articulation marks developed predominately in the Classical pe-
riod. Common articulation marks are the dot above the note, indicating
that it should be played secco or short; the wedge, which articulates and
adds weight to the note; the caesura, which indicates an immediate end to
the musical line; the luftpause, which terminates a note; the tenuto and
slur, which broaden the note; and the fermata, which sustains a note for
an indeterminate amount of time. The composer will often describe the
articulation by writing secco (short), con sordini (with mutes), marcato
(marked), and marcia (in marching style) into the part. Each of these ar-
ticulation markings and terms suggest how the composer wants to articu-
late or stress a note or phrase; how this was accomplished is left up to the
timpanist (Cook 1988, 17; Lampl 1996, 6174; Van Ess 1970, 45). Lets
briey examine methods of articulating passages and leave an extended
discussion of articulation to the chapters on Baroque and Classical music.
Dampening is a technique that produces varying degrees of articula-
tion. As discussed above, drums may be dampened with the timpanists
ngers, with timpani sticks, or with mufes made from felt, leather, linen,
or some other suitable material. By putting one or more ngers on various
parts of the timpano head, timpanists can articulate a note and give it the
appropriate tone color. In many cases, the ngers are the least effective
way of developing a staccato sound. The timpanist can place a timpani

Musical Interpretation and the Timpanist 51