Timpani Improving Tone Quality and Musicianship by George Frock
It is very important that the timpanist be aware of the correct playing range of each drum
Tuning: With all models of timpani, it is imperative that the head tension be adjusted to the proper playing range in order for the pedal to move correctly. It is therefore, very important that the timpanist be aware of the correct playing range of each drum
Selecting Mallets:
There are several models and styles of mallets which are available. It is important to note that the type of mallet selected for performance should be compatible with the musical style and with the type of stroke employed by the player. Each performer should have at least four pairs of mallets which are selected to produce the various tone colors required in most musical passages.
General Purpose: Ideal for rolls, legato attacks, and tutti passages.
Staccato: Good for passages which need rhythmic definition or for soft passages.
Ultra-Staccato: Ideal for passages which require intricate rhythmic precision and for hard accents.
Wood: A special effect mallet which produces a wood "slap" or contact sound...should only be used when the music specifies this mallet.
Hand Position:
The mallet is held in between the thumb and the first joint of the index finger. The fingers lightly surround the mallet handle. It should be mentioned that for a brighter sound, more squeeze and less finger contact is suggested. For a darker tone add more fingers contact to the mallet handle.
Types of Strokes:
Full Stroke: Start with the mallet hand 8"-10" off the playing surface. The mallet hand moves to the head and returned to the original position. (Used for vibrant, "ringing" tones and in rolls.)
Legato Strokes: Use the wrist and either fling or drop the mallet to the head and lift at the point of contact. A slower motion to the drum head will produce a more sustained sound with less accent.
Staccato Strokes: Firm up the grip and use a snap type motion to the head and return. For a more articulation to the sound, grip the mallet tightly and play with the mallet hands more parallel to the head surface.
It must be understood that with all the above strokes, it is important that the lift or snap of the head be as quick as possible. It should also be the responsibility of the teacher and player to produce the best possible sounds that are possible.
It is this writer's opinion that the tone is improved when the mallet strikes the head on the upper shoulder of the mallet. When the mallet handles are more parallel to the head there is more contact sound mixed with the tone.
George Frock holds two positions at the University of Texas, Director of Percussion Studies and Associate Chairman for the Department of Music. He is a nationally recognized teacher/ performer/composer and has served as solo timpanist for the Austin Symphony Orchestra for over 20 years. Under Professor Frock's direction the University of Texas Percussion Ensemble has become well known through appearances at numerous music conventions (including PASIC and MENC). They have premiered several works for percussion and have also recorded for the CRI recording label. In addition to his university duties and Austin Symphony performance, Professor Frock is an Education Consultant/Clinician for the Ludwig-Musser division of Selmer, Inc. He also regularly contributes reviews for percussion publications of the Percussive Arts Society.
