Timpani Sizes and Ranges

by John J. Papastefan

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For many years, a pair of timpani The Rite of Spring by Stravinsky tone color can be enhanced by with standard diameter sizes of calls for B3, and several other using five timpani of 32, 29, 26, 28 and 25 inches or 29 and 26 composers, including Copland, 23, and 20 inches; in addition, inches was the norm. Today, a Kabalevsky, and Kodaly, require the 12 inch span between the set of at least four timpani has A3 in their works. largest and smallest sizes offers become essential to perform the Many compositions in the a greater degree of flexibility and music written for advanced high solo literature also require five or better tone quality than an 8-inch school level students and be- more timpani. For example span suggested by Kirby. Ac- yond. Timpanists need a mini- Sensemaya by Silvestre cording to Gordon Peters, princi- mum of four drums, measuring Revueltas requires timpani tuned pal percussionist of the Chicago 32, 29, 26, and 23 inches, to to G(b) 2, B2, F3, G3, and A(b) Symphony Orchestra, the best meet the range requirements of 3. The Sonata for Piano and timpani sizes for professional the music they perform with Percussion by Peggy Glanville use are 32, 29, 26, 23, and 21 good tone quality. Hicks calls for timpani tuned to inches, and include pedals, A pair of timpani will produce G2, A2, B2, E3, and B3. Several rather than one of the other pitch all of the notes found within the timpani concertos, including changing mechanisms (The octave F2 to F3. By adding a those by Werner Tharichen, Sam Drummer: Man). The 21-inch drum 20 inches in diameter to Raphling, and Robert Parris, size is indeed a rarity in the the four sizes listed above it is also require five drums. If United States; substituting the possible to extend the upper enough composers and arrang- 20-inch size for the 21-inch register of the group of timpani ers write for four or more tim- timpani is more consistent with to C4. Adding more timpani to pani, this number will eventually 3-inch gradations and further, the basic pair gives a player become the norm rather than the sounds less stuffy in the pitches flexibility in choosing the instru- exception. located above C4. Some timpa- ment for the required pitches; it As early as 1930 Percival nists, however, prefer the 21- also reduces the number of Kirby recommended the use of inch, believing it has a fuller tuning changes needed during five timpani measuring 30, 28, sound. the course of a composition. 26, 24, and 22 inches, “for those The 28- and 25-inch pair of Why is such flexibility impor- who desire to produce really timpani was developed much tant? Because so many orches- artistic results” (The Kettle- earlier than the other sizes now tral works call for timpani parts Drums). Resonance, depth, and in use. This pair can be used with extended ranges. La Cre- interchangeably with the 29- and ation du Monde by Darius 26-inch pair, which was intro- Milhaud requires D4 and F#4; duced around 1960. However, the 29- and 26-inch diameters produce better tone quality throughout the entire range of each drum, and particularly at the extreme ends of the range.

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The size of a timpani refers to either direction, especially when slowly and as silently as pos- the bowl diameter, which is playing on top-quality plastic sible, increase the tension on the measured in inches. The range of mylar heads, but the resulting head by pushing down on the a drum varies with the make and pitches will not have the same pedal until the desired pitch is model and can be quite wide, but quality as the notes within the reached. Always approach the the best quality sound is gener- standard ranges. pitch from below, as this seems ally obtained within a perfect fifth. Once a player has developed to settle the head most effec- Ranges for the five sizes recom- the ability to identify and sing tively and result in more accurate mended here are as follows: intervals, he should be capable intonation. If you move past the desired pitch be sure to “heel 32" 29" 26" 23" 20" down” the pedal as described w œ w œ above, time permitting. ? œ w œ w œ w The quality of tone at the w œ w œ w bœ extreme high or low range of any w œ w timpani is usually rather poor. Optimal sound and beauty of tone are obtained around mid- The black notes indicate the of tuning the timpani. With your range and slightly above. For range in which the best tone heel, press the pedal of each maximum resonance, pitches in quality can usually be achieved. drum all the way down to the the high register of any size drum The timpani can be tuned to the position of lowest pitch. At the are best played on the next ranges shown by the white same time gently press on the smaller size in the set. For ex- notes, but achieving good tone center of the head with the heel ample, the note D3 can be played quality is less certain. Tone of the hand. This seems to iron on a 28- or 29-inch drum with fine quality within these ranges will out the head and yield more plastic heads and modern pedal vary among different makes and accurate tuning. Be sure that this mechanisms, but it will not have models of timpani. bottom, or home base, note is the resonance of the D3 played Directors, players, and ar- the appropriate lowest pitch for on a 25- or 26-inch drum. rangers should not assume that the particular drum being tuned. The bottom note on a timpani each note within these traditional Using a pitch pipe, tuning fork, or is comparable to an open string ranges sounds equally good. other reliable pitch source, fine- of an orchestral string instrument Every timpani (like every piano tune the drum to the correct and should be avoided, if pos- or other instrument) is slightly note, using the tuning lugs. Only sible, unless specifically desig- different. To determine which then will the pitch be true and nated. Notes at or near the notes sound best, begin by the tone resonant. bottom of the range tend to be experimenting with each drum, Once the drum is tuned to less distinct in pitch and rhythm. then plan a tuning strategy the base pitch, the pedal is used Pitches at the top of the range accordingly. The range of each to change the pitch as needed. sound constricted, “pinched,” drum may be extended slightly in Gently strike the drum and, and lack projection. Plastic

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○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ heads can enable the player to and quality of pitches. For ex- some experimentation and obtain one or two extra notes at ample, a 32-inch timpani not examination of the type of pieces either end of the range, although only produces a fuller, more the group will be playing, timpani the tone quality at these ex- resonant F2 and E(b) 2, but a can be chosen and tuned to tremes leaves much to be de- clear and true sounding D2 and obtain the best sound in all sired in the way of clarity and even C2. The timpani method ranges required. resonance. books by Saul Goodman and FURTHER READING On some occasions, com- Friese and Lepak advise using a Bartlett, Harry R. and Ronald posers call for artificial tuning 32-inch drum, or a specially A. Holloway. Guide to Teaching tuning a timpani to a pitch lower made larger size, to ensure good Percussion. 4th ed. rev. by John J. or higher than its normal tuning tone quality and intonation for Papastefan. Dubuque, Iowa: Wm. note. For example, tuning the notes in the vicinity of C2. C. Brown Co. Publishers, 1984. 23-inch drum to C3 rather than For high notes, a 21-inch or Firth, Vic. Percussion Sympo- to the usual D3. This technique the more available 20-inch tim- sium. New York: Carl Fischer, is analogous to scordatura, the pani, sometimes referred to as a 1966. abnormal tuning of a string piccolo timpani, will reach B3 and Friese, Alfred and Alexander instrument in order to obtain C4 with relative ease. Although Lepak. Timpani Method. New unusual chords, facilitate difficult the sound of these notes may be York: Belwin-Mills, 1954. passages, or change tone color. tight and not overly resonant, the Goodman, Saul. Modern Avoid using this tuning alteration pitch will be true and clear. Spe- Method for Timpani. New York: consistently; such a change cial sizes, such as 15- and 14- Belwin-Mills, 1948. affects the balanced action inch timpani, which can reach D4 Kirby, Percival R. The Kettle- mechanism in some timpani, and F#4, respectively, with a Drums. London: Oxford Univer- causing pitches to go sharp by clear vibrant sound, are available. sity Press, 1930. themselves. This practice can However, these unusual sizes are Ludwig, William F., Sr. Ludwig also be confusing to the timpa- difficult to find outside profes- Timpani Instructor. Chicago: nist who relies on the basic sional orchestras. Timpani Ludwig Drum Company, 1957. (bottom) tuning note to serve as smaller than the 23inch and Mueller, Kenneth. Teaching his home base. This is particu- larger than the 32-inch sizes are Total Percussion. Englewood larly true of the inexperienced occasionally used in conservatory Cliffs, New Jersey: Prentice-Hall, timpanist who may be used to and professional orchestras; but it 1969. pushing the pedal to the floor to is best for a composer to avoid Peters, Gordon B. The Drum- get a certain pitch, a factor to be writing for these sizes unless he mer: Man. rev. ed. Wilmette, remembered when scoring for is commissioned by a particular Illinois: Kemper-Peters Publica- student or other amateur en- ensemble that owns the less tions, 1975. sembles. common ones. Reed, H. Owen and Joel Drums manufactured at both Selecting the number and Leach. Scorinq for Percussion. ends of the timpani range have sizes of drums for a timpani Englewood Cliffs, New Jersey: increased the available scope section can be confusing. With Prentice-Hall, 1969.

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