{"id":2680,"date":"2007-07-07T15:09:57","date_gmt":"2007-07-07T22:09:57","guid":{"rendered":"http:\/\/bandworld.org\/magazine\/?p=2680"},"modified":"2018-03-07T15:42:15","modified_gmt":"2018-03-07T23:42:15","slug":"percussionists-are-musicians-too-part-2","status":"publish","type":"post","link":"https:\/\/bandworld.org\/magazine\/index.php\/percussionists-are-musicians-too-part-2\/","title":{"rendered":"Percussionists are Musicians Too! (Part 2)"},"content":{"rendered":"<h2>TIMPANI<\/h2>\n<ul>\n<li>Tempered Tuning \u2013 timpani in tune with itself: same pitch at each tuning rod<\/li>\n<li>Drum sizes and pitch ranges:<\/li>\n<\/ul>\n<p>32\u201d (30\u201d) D-A, 29\u201d (28\u201d) F-C, 26\u201d (25\u201d) Bb-F, 23\u201d D-A, 20\u201d F-C<\/p>\n<h3>Ear Training<\/h3>\n<ul>\n<li>Match pitches with voice (during the initial stages of learning to tune, percussionists may feel unsure about singing.<\/li>\n<li>Encourage the entire ensemble to sing the desired pitch along with the percussionist. This can help the percussionist and raise the level of awareness of other musicians.)<\/li>\n<li>Learn intervals \u2013 match given pitch , then sing desired interval<\/li>\n<li>Experiment with familiar melodies:\n<ul style=\"list-style-type: circle;\">\n<li>P5 &#8211; Twinkle Twinkle<\/li>\n<li>P4 &#8211; Here Comes the Bride<\/li>\n<li>M3 &#8211; Michael Row<\/li>\n<li>m3 &#8211; Brahms\u2019 Lullaby<\/li>\n<li>M2 &#8211; Happy Birthday<\/li>\n<li>m2 &#8211; Jaws<\/li>\n<\/ul>\n<\/li>\n<li>Solfege syllables \u2013 more advanced, sing patterns (arpeggio\u2019s, etc\u2026)<\/li>\n<\/ul>\n<h3>Tuning Procedure<\/h3>\n<ul>\n<li>Pitch references for initial tuning\n<ul style=\"list-style-type: circle;\">\n<li>Pitch pipe, keyboard percussion, tuning fork, another instrument, etc\u2026<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li style=\"list-style-type: none;\">\n<ol>\n<li>Obtain lowest pitch on drum<\/li>\n<li>Listen to the pitch<\/li>\n<li>Sing, internalize the pitch*** (extremely important)<\/li>\n<li>Tap the drum once \u2013 then quickly move the pedal up to the desired pitch<\/li>\n<li>Stop on the desired pitch \u2013 if you over shoot the desired pitch return to step one. Do not try to adjust the pitch downward.<\/li>\n<\/ol>\n<\/li>\n<\/ul>\n<h3>Additional thoughts:<\/h3>\n<ul>\n<li>Timpani sound best in the middle of their range (try to avoid lowest note when possible).<\/li>\n<li>Tuning gauges \u2013 can be a crutch, must be accurately set and maintained<br \/>\nSitting on a stool can free the feet for pedaling (also benefits short &amp; tall players).<\/li>\n<\/ul>\n<h3>Changing pitch during piece \u2013 mark changes in music<\/h3>\n<ul>\n<li>Find pitch in the ensemble if possible, if not, \u201ctune out\u201d the ensemble<\/li>\n<li>Good handle of intervals<\/li>\n<li>Be discrete \u2013 hum quietly and vibrate the head quietly<\/li>\n<li>Keep good time while making the change<\/li>\n<li>Best sound \u2013 start at edge, slowly striking the drum and moving toward middle, you will find the most resonant sound (2\u201d \u2013 3\u201d from edge)<\/li>\n<\/ul>\n<p><strong>Grip<\/strong> \u2013 German and French = direct affect on tone<\/p>\n<p><strong>Mallet choice<\/strong>s \u2013 staccato, general, cartwheels (different articulations, weight, tone)<\/p>\n<p><strong>Rolls<\/strong> \u2013 SINGLE STROKE, roll speed determined by pitch. Lower pitch=slower head vibration, Higher pitch=faster head vibration (faster decay)<\/p>\n<ul>\n<li>Volume achieved with stick height<\/li>\n<\/ul>\n<p><strong>Sticking\/ Muffling<\/strong> \u2013 try to alternate, if need be \u2013 double or cross-over<\/p>\n<ul>\n<li>Muffling \u2013 press fingertips (soft dynamics) and base of hand (louder dynamics) on the head. Don\u2019t swipe \u2013 makes extraneous sound.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>TIMPANI Tempered Tuning \u2013 timpani in tune with itself: same pitch at each tuning rod Drum sizes and pitch ranges: 32\u201d (30\u201d) D-A, 29\u201d (28\u201d) F-C, 26\u201d (25\u201d) Bb-F, 23\u201d D-A, 20\u201d F-C Ear Training Match pitches with voice (during the initial stages of learning to tune, percussionists may feel unsure about singing. Encourage the [&hellip;]<\/p>\n","protected":false},"author":30,"featured_media":2684,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26],"tags":[],"class_list":["post-2680","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-percussion"],"_links":{"self":[{"href":"https:\/\/bandworld.org\/magazine\/index.php\/wp-json\/wp\/v2\/posts\/2680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bandworld.org\/magazine\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bandworld.org\/magazine\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bandworld.org\/magazine\/index.php\/wp-json\/wp\/v2\/users\/30"}],"replies":[{"embeddable":true,"href":"https:\/\/bandworld.org\/magazine\/index.php\/wp-json\/wp\/v2\/comments?post=2680"}],"version-history":[{"count":3,"href":"https:\/\/bandworld.org\/magazine\/index.php\/wp-json\/wp\/v2\/posts\/2680\/revisions"}],"predecessor-version":[{"id":2685,"href":"https:\/\/bandworld.org\/magazine\/index.php\/wp-json\/wp\/v2\/posts\/2680\/revisions\/2685"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bandworld.org\/magazine\/index.php\/wp-json\/wp\/v2\/media\/2684"}],"wp:attachment":[{"href":"https:\/\/bandworld.org\/magazine\/index.php\/wp-json\/wp\/v2\/media?parent=2680"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bandworld.org\/magazine\/index.php\/wp-json\/wp\/v2\/categories?post=2680"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bandworld.org\/magazine\/index.php\/wp-json\/wp\/v2\/tags?post=2680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}