It's been like ten years but holy crap this video is probably the most useful video I've ever seen. It has helped me more times that my pride will let me admit. Thank you for your work Mr. Goss!
1:39 Wow the timpani are so sharp here... Those sound like G! Thank you for this video! This is very helpful, even as old as it is. Good videos never really go out of date and this is a great example. Thank you, always. ❤
Excellent..as a percussion player i must say these tips are very useful to start composing music were timpani are included.!! By the way... Did Columbus Bring Enough Food (to) America..? I don´t know but what a cue tip when writing to Harp.!!!
As to your second point, I think that's inherent in the video itself. I give the viewer the reasons why timpanists prefer one approach, and justify why I don't always follow it, with a caution that I've arrived at that position through experience and the development of my own style. One last thing - one of the best reasons to stay within the boundaries of four kettles is credibility, pure and simple. You want timpanists to be loyal to your work, not contemptuous.
Sadly, Jim, it's an imperfect world, where orchestra budgets do not often allow for loans of timps from other orchestras (if there even are other orchestras nearby). Transporting a timp requires union time, a special carrying case, and a moving van. Imagine every composer asking for this extra timp or that - the situation would soon become impossible. An experienced orchestrator knows how to work within the limits, aware that extravagances may result in his piece being rejected out of hand.
Any orchestration manual will tell you that the standard timpani quartet ranges 30", 28", 25", and 23". These values have gradually been increased by one or two inches over the past few decades. A 32" kettle allows a lowest tuning of C below the staff, whereas a 20" kettle can go all the way up to middle C. All the same, many timpanists would prefer not to tune to these extremes. A 32" kettle makes low D sound better, but low C is pretty flabby, and high C in the piccolo timp sounds very tight.
If you're starting out, you are probably writing for orchestras that are not well-funded and they are probably using the last-generation drums. So take the old advice to heart, but keep abreast of the new developments. Frankly, writing for the older-generation drums will never fail even if the timpanist uses newer drums.
So can we assume, since your median chord has tones that are a M3 above the low note for the larger drums but a m3 abovethe low note on smaller drums, that the higher drums speak better a little lower in the tessitura of the drum than the larger drums? In other words, the higher drums tolerate a bit more slack in the head?
May I just ask, why is it important to remember those first two chords (apart from the outer notes)? Would an orchestra not be expected to have (or be able to get easily) more than one of each sized drum? About 1:48, a relevant point would be that it's important to know the rules before you break them, and to know exactly why you're breaking them and what the effect of doing so is.
Still, you cannot count on these values, as many orchestras still have smaller kettles. Some feel that the smaller instruments have a better sound. With timpani, it's all about resonance, of which depth is merely one factor. We're trending slowly in the direction of depth being the prime factor in timpani tone, and that's a shame.
You're thinking of the harp pedal mnemonic, not timpani tuning: "Did Columbus Bring Enough Food Going (to) America." Of course, it never says that Colombus reached America, only that he was going to it. :)
It's been like ten years but holy crap this video is probably the most useful video I've ever seen. It has helped me more times that my pride will let me admit. Thank you for your work Mr. Goss!
1:39 Wow the timpani are so sharp here... Those sound like G!
Thank you for this video! This is very helpful, even as old as it is. Good videos never really go out of date and this is a great example. Thank you, always. ❤
Thanks, I appreciate everyone's comments, and it's great also to hear from a percussionist.
Great to hear from you, Emily! I'll talk more about bass clarinets in a week or two.
Always great and informing. Watching your videos is always time well spent. :)
This is great, thank you for puting your time in this and sharing knowledge.
Yes, my second point absolutely was inherent in the video, I was merely attempting to expand on what you had already said a little.
No worries, that was a very good question, as it gave me a chance to clarify. Keep watching and keep asking.
Excellent..as a percussion player i must say these tips are very useful to start composing music were timpani are included.!!
By the way... Did Columbus Bring Enough Food (to) America..? I don´t know but what a cue tip when writing to Harp.!!!
Great tip, I didn't know that! And excited for the upcoming harp tip!
As to your second point, I think that's inherent in the video itself. I give the viewer the reasons why timpanists prefer one approach, and justify why I don't always follow it, with a caution that I've arrived at that position through experience and the development of my own style.
One last thing - one of the best reasons to stay within the boundaries of four kettles is credibility, pure and simple. You want timpanists to be loyal to your work, not contemptuous.
What's the piece whose score is shown in the background at 2:57?
Sadly, Jim, it's an imperfect world, where orchestra budgets do not often allow for loans of timps from other orchestras (if there even are other orchestras nearby). Transporting a timp requires union time, a special carrying case, and a moving van. Imagine every composer asking for this extra timp or that - the situation would soon become impossible.
An experienced orchestrator knows how to work within the limits, aware that extravagances may result in his piece being rejected out of hand.
Any orchestration manual will tell you that the standard timpani quartet ranges 30", 28", 25", and 23". These values have gradually been increased by one or two inches over the past few decades. A 32" kettle allows a lowest tuning of C below the staff, whereas a 20" kettle can go all the way up to middle C.
All the same, many timpanists would prefer not to tune to these extremes. A 32" kettle makes low D sound better, but low C is pretty flabby, and high C in the piccolo timp sounds very tight.
If you're starting out, you are probably writing for orchestras that are not well-funded and they are probably using the last-generation drums. So take the old advice to heart, but keep abreast of the new developments. Frankly, writing for the older-generation drums will never fail even if the timpanist uses newer drums.
Awesome! Hes back! :D
Wonderful !
excellent .. thank you
It looks like I'm 6 years late to the timpani party
Awesome info! Could you rely information about scoring for xylophone and orchestra bells/glockenspiel?
VERY helpful. Thanks!
So can we assume, since your median chord has tones that are a M3 above the low note for the larger drums but a m3 abovethe low note on smaller drums, that the higher drums speak better a little lower in the tessitura of the drum than the larger drums? In other words, the higher drums tolerate a bit more slack in the head?
May I just ask, why is it important to remember those first two chords (apart from the outer notes)? Would an orchestra not be expected to have (or be able to get easily) more than one of each sized drum?
About 1:48, a relevant point would be that it's important to know the rules before you break them, and to know exactly why you're breaking them and what the effect of doing so is.
yes, new videos incoming :D
P.S. Bass clarinets are awesome. ;)
Thank you!!!
Ah. I see. Thanks for the clarification.
What is the sweet spot for the 20" piccolo timpano?
I want to be a timpanist
Still, you cannot count on these values, as many orchestras still have smaller kettles. Some feel that the smaller instruments have a better sound. With timpani, it's all about resonance, of which depth is merely one factor. We're trending slowly in the direction of depth being the prime factor in timpani tone, and that's a shame.
You forgot about the Piccolo Timpani!
No, I deliberately left it out, because it's not necessary once you get the overall gist. Also, the tip video was quite long enough as it was.
Columbus NEVER REACHED America! ♥
You're thinking of the harp pedal mnemonic, not timpani tuning: "Did Columbus Bring Enough Food Going (to) America." Of course, it never says that Colombus reached America, only that he was going to it. :)