PERCUSSION
THE CHURCH TIMPANIST: CHALLENGES & SOLUTIONS
“It’s #162 in the hymn book. Go ahead and add
some of those spots. (view notation below)
some timpani.”
• Tune the bottom note of the 29” timpano
to E rather than F. This gives you the low
Not limited to hymns, the “cadential punctuation
“resonant” E to use rather that only the high
When timpani parts first appeared in orchestral
formula” can also work in situations when there
(less resonant) E on the 26” drum. Many
scores, the tuning of the drums was slow and
is an orchestration, but no specific timpani
clumsy with performers using their hands to turn
part (or the music director simply gives you a
the tension rods that adjusted the heads. The
chord chart).
timpani parts go down to the low E.
• Substitute another chord tone. Example:
What if the timpani part calls for a D played
normal practice was to write for two drums: one
beneath the D major chord of the song, but
timpano tuned to the tonic degree of the key
In addition to cadence points, adding kettles on
the pitch change is awkward with the two
and the other drum to the dominant. It was a
a modulation is a typical orchestration device.
drum setup? Try playing the fifth (A) or the
“set it and forget it” system that eliminated pitch
Just using your ears and musical instincts can
changes (while remaining in a key) as the timpani
guide you in finding other spots that can benefit
often emphasized the V to I authentic cadence
from some “pauken punch.”
third (F#) if either is more attainable.
• Sneak an “inaccessible” note onto the
nodal area. The center of a timpano head
and punctuated the dominant harmony of the
produces very little resonance or pitch. In a
half cadence. As timpani technology progressed,
Don’t overdo it. Too much timpani can become
rapid passage, some notes can be played in
pedal-tuned drums allowed for quicker pitch
predictable and tedious. Listen to the other
the center to provide the percussive sound
changes. Composers took advantage of the
instruments and choose to play in spots that
without a strong definite pitch.
more agile system and wrote parts requiring
will enhance rather than clutter. A simple roll is a
• Alter the rhythm and/or pitches. Example: A
faster pitch changes and MORE kettles
good choice when there is a great deal of activity
passage consisting of four sixteenth notes
in a setup.
coming from the rhythm section.
(such as F-G-A-Bb) could be reduced to
Keep that little dose of history in mind as I offer
NOT ENOUGH DRUMS
some tips to help you navigate through a couple
Churches seldom own (or rent) more than two
• Delete a passage. Leaving the timpani out in
of the challenges often encountered when
timpani, yet composers and arrangers continue
a thorny section might be the best decision.
playing timpani in a church setting.
writing for three to four drums. In dozens of
If the outline of the timpani part is being
rehearsals I have scribbled a few marks on
covered elsewhere (electric bass, tuba, bass
NO WRITTEN PART
the timpani part and managed to achieve a
drum, bassoon, string bass), just allow that
If you are asked to “play along” on timpani and
satisfactory performance with just the 26”
instrumentation to carry the moment.
the conductor hands you a hymnbook, some of
and 29” kettles.
eighth notes (F-A) or pitches doubled to
achieve the sixteenth rhythm (F-F-A-A).
the best places to add the kettles are at a few
Finally, two pieces of advice for every timpanist:
well-chosen cadence points. (As noted earlier,
Here are some pauken pointers for making do
that simple formula has been employed for quite
with just two:
a while.) Focus on the chords and bass line at
• Switch octaves to fit the pitches onto the
the end of phrases. The harmony will frequently
two drums that are available. Example: If
be either a full cadence with the pitches of the
the notated pitches are Eb2 - Bb2 (usually
bass line moving from the fifth scale degree to
the first degree or a half cadence ending on the
played on the 32” and 29”), simply flip to Bb2 1
- Eb3 and the pitch set fits on the 29” and
dominant. Consider tossing in some timpani in
26” timpani.
44
MUCH easier.
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Nov Dec 2016
• Sitting on a stool makes operating the pedals
• Tuning Gauges! Get ‘em! Set ‘em! Use ‘em!
WorshipMusician.com
MARK SHELTON
An active freelance musician,
Mark’s percussion wo rk can be
heard live and on recordings with
Gateway Worship. A member
of the Texas Commission
on the Arts Touring Roster.
PercussionForWorship.blogspot.com.