Tag: orchestral percussion

Timpani Exercise: 12 Bucks

James Christian
Click on the image to enlarge or click here to download in PDF format.

This exercise is a good warm-up for practicing tone quality and pedaling changes.  It goes through the circle of fifths, and each section incorporates the tonic and dominant of the key.  Like the other “12 Bucks” exercises this week, today’s timpani exercise can be played individually or with a group of percussionists.

This exercise can be played on three drums, but four will be easier.  The rhythms are not overly difficult, so it’s a good opportunity to focus on drawing a full tone from the drum on every stroke.  When playing with a group, you may want to use a medium hard mallet to produce slightly sharper articulation.

The main challenge on this exercise will be the pitch changes.  Gauges will certainly make the changes easier, but a well-trained timpanist can learn to “feel” the next pitch as he or she becomes more familiar with the specific set of drums used.  As always, use your ear and learn to adjust quickly, whether you have gauges or not.

Happy pedaling!

Holiday Percussion: Christmas Bells, Mallets, & Drums (University of Oklahoma)

James Christian2 Comments

I got a CD of the University of Oklahoma Percussion Ensemble several years ago, and it is one of my favorite Christmas albums of all time. I believe it has a lot of mass appeal; it should be of interest to an audience of more than just percussionists. The all-percussion arrangements of different Christmas carols are excellent. Each arrangement is unique and original while always retaining a certain level of sophistication.  The album strikes the perfect balance between interestingly energetic and calming background music.

I cannot find a site that currently sells the CD (please leave a note in the comments section if you know of one). However, OU Percussion Press has sound files of every track available on their website:  http://oupercussionpress.squarespace.com/catalog/  Just scroll down about two-thirds of the way until you see a section entitled “The Christmas Series.”  All of the tracks are listed in order. Even better, you can purchase the full score and parts on their site to perform with your group. (I have performed two of them with a high school group in the past, and they were a lot of fun!)

Here is the track list:

  1. I Saw Three Ships
  2. Away in the Manger
  3. Christmas Medley (Joy to the World/ God Rest Ye Merry, Gentlemen/ O Little Town of Bethlehem/ What Child Is This?)
  4. O Green and Shimmering Tree
  5. Fum, Fum, Fum!
  6. Marimba Carol Medley
  7. The Christmas Song
  8. The Twelve Days of Christmas
  9. O Holy Night
  10. Carol of the Bells
  11. We Wish You a Merry Christmas
  12. Silent Night
  13. Deck the Halls

Holiday Percussion: “Pat a Pan” (Belmont Percussion Ensemble)

James Christian

Many of you have time off from your normal schedule during this holiday season, and it’s a great time for practicing.  If you need some material, there are quite a few exercises already posted on Rudimental University.  This week, however, we’re going to take a break from the usual exercises and articles and just enjoy some percussion performances found on the Web.  Today’s featured performance is the Belmont Percussion Ensemble’s unique twist on an arrangement of a Christmas classic entitled Patapan.

The original published version, which is a bit different from this recording, can be found on Row-Loff Percussion’s website: http://www.rowloff.com/search/description.html?item=08CS6

 

What to Do When You Don’t Feel Like Practicing

James Christian4 Comments
Unmotivated to practice?

When I was a freshman in high school, I told my drum line instructor, “I didn’t practice this week.  I just didn’t feel like practicing.”  He replied, “What do you mean you didn’t feel like practicing!?  The only way to get better is to practice when you don’t feel like it!”

 

What Does It Mean “to Feel”?

My instructor’s mini-beratement led to an important shift in my thinking.  As I looked around the world, he was obviously correct.  If you examine the top experts in any field—whether music, sports, science, business, literature, or anything else—those who reach the top must Read more “What to Do When You Don’t Feel Like Practicing”

Timpani Exercise: Triplet Splits

James Christian
Click on the image to enlarge or click here to download in PDF format.

This three-drum timpani exercise utilizes a common situation, in which you must quickly play all three drums.  To avoid awkward crossover situations and to play the passage with a consistent sticking pattern, most timpanists choose to play a double split among the two drums.  (Tenor drummers call these “sweeps.”)

This exercise works both the right hand and the left hand.  The accents add an additional challenge.  Make sure the accents are distinct, but never overplayed and harsh.

The notes in the exercise are based on an A diminished triad.  Any other grouping of notes could certainly work for practicing the technical skills, but tuning the written notes is important.

As always, start slowly until you have the exercise sounding great.  Then gradually build speed.

Timpani Exercise: Shifting Paradiddles

James Christian

timpani-0001-shifting-pima-paradiddles-1timpani-0001-shifting-pima-paradiddles-2Click on the images to enlarge the exercise or click here to download in PDF format.

Throughout this week we have been looking at the “Shifting Paradiddles” exercise adapted for different percussion instruments.  So far, we have looked at applications for snare drum, keyboard percussion, and bass drums.

Today’s variation for timpani may be the most challenging variation of them all due to its pedaling difficulties.  The exercise utilizes three drums.  It can be played along with the keyboard variation as it cycles through all 12 keys.  As the key changes every two measures, the three drums are tuned to the root major triad.

The exercise falls into three sections, each ending with a quarter note…

Measures 1-8:  The singles check pattern is on the highest drum, while the paradiddle variations are on the lowest two drums.

Measures 9-16:  The singles check pattern is on the lowest drum, while the paradiddle variations are on the highest two drums.

Measures 17-24: The singles check pattern is on the middle drum, while the paradiddle variations are on the highest and lowest drums.

During the check pattern, you will have to pedal the other two drums—and during the paradiddle variations, you will have to pedal the other drum.  Throughout each 8-measure section, each drum will progressively be tuned a half step higher.  On the final measure, the quarter note should glissando smoothly into the next 8-measure section.  For the final note of the exercise, you may want to utilize a downward gliss on repeats and use no gliss the final time through.

Of course, this exercise will be much easier if you have gauges on your timpani.  If you do not, you can still achieve it with careful practice.  Take it slowly and use a keyboard or pitch pipe to check yourself on every pitch change.  Once you get all of the transitions down smoothly, this will be a pretty impressive exercise.