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The
Tools for Timpani Tuning Many
different theories exist on how a timpanist should approach tuning the
timpani. I believe that when
a student reaches a level at which he or she has developed good basic
snare drum technique and has a fundamental background on the mallet
instruments, the timpani should be the next percussion instrument studied.
First, have the new timpanist become familiar with reading bass
clef. Next, teach the
timpanist to match pitch, vocally, with a piano by singing intervals and
scales. Also, have the
student sing intervals above and below the pitch sounded from a tuning
fork. The ability to
recognize intervals, especially fourths and fifths, is significant.
Finally, have the beginning timpanist become acquainted with the
range of each drum, and where to find pitches on the timpani. Many
band directors will have a timpanist purchase a pitch pipe to aid in
tuning. This is not
necessarily such a good idea. A
pitch pipe is hard to use in a performance setting and a student may
become dependent on it. Tuning
forks are the standard tool for obtaining pitch relation.
“A- 440” is most common, however, it is a good idea for
timpanists to purchase as many different tuning fork pitches as possible.
I personally own A, E, and G.
Given the quantity of band repertoire in flat keys, I recommend the
purchase of a B-flat tuning fork.
Complete sets of tuning forks are available, but they tend to be
very expensive. Another
essential tool for me is an electric tuner, because I do not have perfect
pitch. I use the tuner the
same way any other musician would, to check myself at the beginning of a
concert as well as in practice. Observing
a majority of other musicians using and practicing with tuners makes me
wonder why so few percussionists own them.
There are some special considerations when using a tuner to check
timpani pitches. One is to
make sure your drum heads are clear.
This means the pitch must remain constant for the duration of the
drum’s decay. If the pitch
goes sharp or flat, an adjustment must be made to the lugs to get the head
in tune with itself. Tension
gauges, referred to as drum dials, are also available to measure the
tension around the head. I
own and use this tool religiously.
Some electric tuners pick up the overtones of the timpani (usually
the fifth). The measurements
of the tuner may jump around a bit, but with clear heads, an accurate
reading should appear. The tuner’s reading should not be taken too
literally, but it can be used as a helpful tool or as a double checker.
An
essential item for proper timpani tuning is the gauge, which is usually
located on the side of the timpani. Many
music teachers believe that gauges could prevent students from developing
their ears, however, performing with successful intonation without gauges
is completely impossible. Much
of the band literature is composed with contemporary orchestrations.
Often, high school and more advanced middle school band works will
have two or three tuning changes for the timpanist, often appearing with
little or no rest. The
timpani gauge allows the timpanist to have a reference point, and the
timpanist is able to adjust to the ensemble if needed.
Some timpanists use the range of the drums as a tuning gauge.
For example, a player will put a C at the top of the 29” drum or
an E at the bottom of a 32” drum. This
pitch is then used as a reference point.
A pitch that a timpanist will need in a given piece should rarely
be at the entire top or bottom range of the drum.
It
is very important to stress to a new timpanist the importance of listening
and making wise adjustments. Winds
will tend to go sharp and the entire band can vary in pitch depending on
concert locations and the temperature.
During an outdoor concert, weather becomes a major factor in the
intonation of the ensemble. Remember,
relying only on gauges and tuners is not ideal.
It is important for a timpanist to develop relative pitch and
interval recognition, but he should not deny himself the tools to better
his performance and development on the instrument.
The most difficult and important task of a school band director lies in convincing percussionists (and the rest of the band) that they are musicians, not just drummers. Every beginning percussionist wants to play the snare drum. This is normal, but if you want to develop young musicians, you must begin early and offer basic xylophone and marimba technique. Don’t rely on the clarinet player who has had piano lessons to play all of the bell and xylophone parts, give them to your percussionists! Their self-confidence will grow and they will earn respect from their peers. A student that doesn’t really "get the hang" of the snare drum may take to the xylophone that much better. If the snare drum is at the top of the ladder in a young student’s eyes, the bass drum is very close to the bottom. Some students may feel that they are not "good enough" to play snare drum when they are "stuck" on bass drum. DO NOT always put the weakest player on bass drum. Give everyone in the section the chance to play the instrument, and let them know how important it is to you and to the overall sound of the band. A well-played bass drum affects ensemble sound more than you may realize. Also, encourage this "every instrument is important" attitude, right on down to the triangle and woodblock. I don’t have to tell you that when percussionists don’t have anything to play for any period of time, they get bored, and subsequently get into trouble. They also think that you cannot see or hear anything they do "back there." Let them know early that you have good eyesight and even better hearing. Try to make sure the parts are evenly divided and that everyone has something to do. It may be helpful to designate one player as a section leader to assign parts. After the rehearsal is over, do your percussionists beat everybody out the door, leaving drums uncovered, cymbals on the floor, and mallets stuck in the wall tiles? While you are busy convincing your percussion section that they are musicians, you must also teach them that everything they hit with a stick or mallet, strike together, or shake deserves to be treated as an instrument Have lockable storage for the instruments as close to your rehearsal space as possible, and see that it is used. Keep timpani, xylophones, and marimbas covered when not in use. Incidentally, when removing a cover from an instrument, see that it gets placed over the back of a chair or up against a wall, not on the floor. When the cover gets dirty, the dirt is transferred to the instrument. Percussion is a huge field, covering more diverse instruments and techniques than any other section in the band. Open your students’ ears and minds to the possibilities of sound, and encourage them to become well-rounded musicians. Start a percussion ensemble, send students to competitions and festivals, feature the section on a concert and encourage members to take private lessons. Good luck with your young musician/percussionists! |
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