How to Turn Your Drummers into TimpanistsJohn Bannon, Principal Timpanist, The Florida Orchestra

The only timpani technique that really matters is tuning.

Beyond that there are only a couple universal, fairly obvious, physical fundamentals:

1) Hit the drum near the edge so it rings. 2) Use single stroke rolls.

Refinements beyond that amount to getting a sound that is appropriate for the music at hand; nobody agrees on every point. Students should seek the best possible models.

Maintenance: This is an important part of having good timpanists and helping students reach their potential. It’s difficult to remember what to do, and to get to it; I encounter very few schools where the timpani are well-maintained.

Setting range is most important. Timpani heads stretch. Check/reset monthly (you might get away with every semester).

1) Ludwigs: tune (w/ tuning bolts) the bottom notes to D2-F-Bb-D3 (F3 on 20”). 2( All others (Yamaha, Adams, etc.) tune the top notes to B2-D3-F3-A3-C4.

Mechanical problems - The most common - drums not holding pitches they’re set to - is due to heads stretching below range, often for months or years; then, rather than setting correct range, someone loosens the spring. Many drums have ways to add friction to the mechanism. Again, set the range correctly.

Tuning: The easiest (maybe only effective) way to teach this is not to; test for the ability.

1) Give notes on the piano for students to tune on the timpani. Usually a few students can tune right away. No one who struggles with this will learn how to do it without serious study: lessons, sing in a choir.

2) Students who can tune should learn the ranges of the timpani so they know which drum to put a note on, and where in its range.

3) Then, use a pitch pipe (F-f preferred) to get the notes. 4) Set/ check gauges by ear before each rehearsal and concert. 5) Devise, and mark in their music, a tuning plan for each part. 6) Learn intervals and tune from a tuning fork

Heads, which ones to get, what sizes, how to install them, are a matter for reference and professional advice.

Sticks. To begin, a pair of medium felt (ex. Firth T-1 or T-3; there are many other makers). A good high school timpanist should have at least 3 pairs: medium, hard (Firth

T-4), soft (Firth T-2 or T-6). Wooden sticks are sometimes specified by composers; they are often the first thing added after the basic three. Orchestral playing adds a few pairs, based largely historically (the earlier the music generally some combination of smaller and harder). High school seniors successfully auditioning into major music schools will often have at least 6-8 pairs, professionals often many more.

Tuning gauges: ideally practice without gauges, then use them, set by ear, as much as possible in rehearsal and performance (I prefer Adams “Professional” timpani for schools because they allow this). There are many excellent professional percussionists who struggle with tuning, even excellent timpanists make fewer mistakes with gauges.

Other technical issues, sticking, etc. I've omitted this partially due to time, partially to make a point that timpani, and their most effective parts, are simple. Too much concentration on complicated reading and technique is a sign of not understanding the instrument.

Don’t try to remember any of this.

1) Have a good percussion methods book (I prefer Gary Cook's).2) Call/e-mail/text, etc. professional orchestral players, college percussion

teachers for advice.