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Four Works for Solo Timpani: an Analysis and Performance Guide

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Four Works for Solo Timpani: an Analysis and Performance Guide Four Works for Solo Timpani: An Analysis and Performance Guide D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Naomi Joy Marcus, B.M., M.M. Graduate Program in Music The Ohio State University 2016 Document Committee: Dr. Susan Powell, Advisor Dr. Jan Edwards Dr. Russel C. Mikkelson Professor Karen Pierson Copyright by Naomi Joy Marcus 2016 Abstract The study of timpani as a solo instrument is an integral part of an undergraduate and graduate education in percussion. Performance of a solo piece on this instrument is typically required for entrance into such programs, and is also usually a compulsory element in percussion recitals of varying degree levels. Despite this level of importance placed on the idea of learning timpani solos as a means to furthering one’s education, there is little existing scholarly research written on the subject of timpani solos. One possible reason for this is that, often, timpani solos are not programmed as much in musical arenas outside of the academic, particularly in comparison with other solo percussion instruments, such as the marimba or pieces written for multiple-percussion set-up. This document will closely examine four regularly performed timpani solos: Four Pieces for Timpani by John Bergamo, Variations for Solo Kettledrums by Jan Williams, Raga No. 1 by William Cahn, and Prelude No. 3 by Christopher Deane. In addition to providing biographies of each of the composers whose works are examined, this document will discuss the context in which each of the pieces was written, offer musical analyses of the works themselves, and provide suggestions to future performers regarding the execution of various technical and musical elements within each piece. ii The desired outcome of this document is to provide percussion students and teachers with a guide to these frequently performed works that will aid them in their study of them and will enhance future performances. It is the hope of the author that by illuminating this often neglected genre, there will be a renewed interest in solo timpani performance, and that other examples from the literature will begin to be examined using a similar methodology. iii Dedication This document is written in memory of John Bergamo. iv Acknowledgments There are many people to whom I owe a great deal of gratitude upon completion of this document. First, I would like to thank my percussion teachers at OSU, Dr. Susan Powell and Prof. Joseph Krygier. Thank you both for sharing your knowledge, guidance, and instruction during my time here at OSU, and for continuing to be such stellar musical role models and mentors. I would also like to thank Dr. Powell for her service to my doctoral committee as my advisor, as well as the rest of my doctoral committee, Dr. Jan Edwards, Dr. Russel Mikkelson, and Prof. Karen Pierson; thank you for your support throughout my degree program. It would be extremely remiss of me to not acknowledge and thank all of my former teachers. It truly is because of them that I am where I am today, and it is their wisdom, advice, and knowledge that has sustained me throughout my career thus far. Thank you Jeffrey Irving, John H. Beck, Michael Burritt, and Dr. Kristopher Keeton. Thank you to the three composers for whom this document literally would not be possible, for their assistance (and patience) provided me with incredible insight and ideas: Jan Williams, Bill Cahn, and Christopher Deane. Thank you, John Bergamo; you are greatly missed by the percussion community, and it is my greatest hope that I was able to perform and discuss your work in a way that does it proper justice. v To the OSU Percussion Studio for being a wonderful and supportive group of people whom I consider fortunate to work with everyday; to Zachary Koors for being a huge assistance to me in taking the photographs for this document (and also for being my “go-to theory guy”); and to Kevin Estes for serving as my “tabla model”: thank you all. To Layne Cutshall and Brittney Rifkind: thank you for being my 500-mile-away best friends, respectively. To Johnny Mendoza: thank you for being my three-mile-away best friend, and for continuing to be my sounding board and collaborator. To my father, who unfortunately left this Earth in 2012, but until the very moment that he did so, continued to shower me with nothing but love, support, and encouragement, without which I would not be able to continue to pursue my dreams. There is not a single day that goes by that I do not think about you. Finally, to my mother. Thank you for your love, support, and encouragement, and also for being the ultimate role model to me. Your humor, strength, wisdom, and work ethic are just a few of the reasons that I look up to you. Thank you for being understanding of (and being my number one cheerleader of me pursuing) my dreams and goals, even if it means that I have to move far away from home. As I write this, I cannot exactly say what the next chapter of my life has in store for me, but I know that when I find out, you will be the first one there to guide me through it. vi Vita 2011................................................................Bachelor of Music, Performance Eastman School of Music Rochester, New York 2011................................................................Graduate Teaching Assistant University of North Carolina at Greensboro Greensboro, North Carolina 2013................................................................Master of Music, Performance University of North Carolina at Greensboro 2013................................................................University Fellowship The Ohio State University Columbus, Ohio 2014................................................................Graduate Teaching Associate The Ohio State University Fields of Study Major Field: Music vii Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgments ............................................................................................................... v Vita .................................................................................................................................... vii List of Tables ..................................................................................................................... xi List of Figures ................................................................................................................... xii Chapter 1: INTRODUCTION ............................................................................................. 1 PURPOSE OF THE DOCUMENT ............................................................................. 3 NEED FOR THE DOCUMENT ................................................................................. 4 ORGANIZATION ....................................................................................................... 6 A BRIEF HISTORY AND EXPLANATION OF TIMPANI ..................................... 8 Chapter 2: Four Pieces for Timpani by John Bergamo .................................................... 16 BIOGRAPHY OF JOHN BERGAMO ..................................................................... 16 FOUR PIECES FOR TIMPANI ................................................................................. 21 viii ANALYSIS ............................................................................................................... 22 PERFORMANCE SUGGESTIONS ......................................................................... 37 Chapter 3: Variations for Solo Kettledrums by Jan Williams................................ ........... 66 BIOGRAPHY OF JAN WILLIAMS ........................................................................ 66 VARIATIONS FOR SOLO KETTLEDRUMS ............................................................ 69 ANALYSIS ............................................................................................................... 71 PERFORMANCE SUGGESTIONS ......................................................................... 96 Chapter 4: Raga No. 1 by William Cahn ........................................................................ 113 BIOGRAPHY OF WILLIAM CAHN ..................................................................... 113 RAGA NO. 1 ............................................................................................................ 115 ANALYSIS ............................................................................................................. 120 PERFORMANCE SUGGESTIONS ....................................................................... 138 Chapter 5: Prelude No. 3 by Christopher Deane ............................................................ 149 BIOGRAPHY OF CHRISTOPHER DEANE ......................................................... 149 PRELUDE NO. 3 ..................................................................................................... 154 ANALYSIS ............................................................................................................. 158 PERFORMANCE SUGGESTIONS ....................................................................... 177 Chapter 6: CONCLUSION ............................................................................................
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