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Timpani (also known colloquially as '''kettle drums''') are Musical Instrument s in the Percussion family. A type of Drum , they consist of a skin called a '' Head '' stretched over a large bowl commonly made of Copper . They are played by striking the head with a specialized Drum Stick called a ''timpani stick'' or ''timpani mallet''. Unlike most drums, they produce a Definite Pitch when struck. Timpani evolved from Military drums to become a staple of the Classical Orchestra by the last third of the 18th century. Today, they are used in many types of Musical Ensemble s including Concert , Marching , and even Rock Band s. ''Timpani'' is an Italian plural, the singular of which is ''timpano''. However, this is rarely used in informal English speech as a timpano is typically referred to as a ''drum'', a ''timpani'', or simply a ''timp''. A Musician who plays the timpani is known as a ''timpanist''. ALTERNATIVE SPELLINGS Alternative spellings with ''y'' in place of either or both ''i''s – ''tympani'', ''tympany'', or ''timpany'' – are occasionally encountered in older English texts. This substitution is taken from the Latin word ''tympanum'', from which the Italian word descends. While the word ''timpani'' has been widely adopted in the English language, some English speakers choose to use the word ''kettledrums''. The German word for timpani is ''Pauken'', and the French is ''timbales''. CONSTRUCTION Basic timpano The basic timpano consists of a drumhead stretched across the opening of a bowl typically made of copper or, in less expensive models, Fiberglass and sometimes Aluminum . In the Sachs-Hornbostel Classification , it is thus considered a Membranophone . The drumhead is affixed to a Hoop (also called a ''fleshhoop''), which in turn is held onto the bowl by a ''counterhoop'', which is then held by means of a number of tuning Screw s called ''tension rods'' placed regularly around the circumference. The head's tension can be adjusted by loosening or tightening the rods. Most timpani have six to eight tension rods. The shape of the bowl contributes to the tone quality of the drum. For example, Hemispheric bowls produce brighter tones while Parabolic bowls produce darker tones. Another factor that affects the timbre of the drum is the quality of the bowl's surface. Copper bowls may have a smooth, machined surface or a rough surface with many small dents hammered into it. Timpani come in a variety of sizes from about 84 Centimeter s (33 Inch es) in diameter down to ''piccolo timpani'' of 30 centimeters (12 inches) or less. A 33-inch drum can produce the C below the Bass Clef , and speciality piccolo timpani can play up into the Treble Clef . In Darius Milhaud 's 1923 Ballet score '' La Création Du Monde '', the timpanist must play the F sharp at the bottom of the treble clef. Each individual drum typically has a range of a Perfect Fifth to an Octave . Pedal and Chain timpani set up in three different combinations.]] Machine timpani Changing the pitch of a timpano by turning each tension rod individually is a laborious process. In the late 19th century, mechanical systems to change the tension of the entire head at once were developed. Any timpani equipped with such a system may be called ''machine timpani'', although this term commonly refers to drums that use a single handle connected to a spider-type tuning mechanism. Pedal timpani By far the most common type of timpani used today are ''pedal timpani'', which allow the tension of the head to be adjusted using a pedal mechanism. Typically, the pedal is connected to the tension screws via a spider-like system of metal rods. There are three types of pedal mechanisms in common use today:
Any pedal drums that are tuned using the spider system can be called ''Dresden'' timpani, though the term is most often used for drums whose design is similar to the original pedal timpani built in Dresden ('' See Below ''). Strictly speaking, a Dresden drum has a pedal that is attached at the player's side. The timpanist can move this pedal with ankle motion. A ''Berlin''-style pedal is attached by means of a long arm to the opposite side of the drum, and the timpanist must use his entire leg to adjust the pitch. The drums most professional timpanists use are Dresden timpani, commonly with a ratchet-clutch or friction clutch pedal. Most school bands and orchestras below the University level use cheaper, more durable timpani. The mechanical parts of these timpani are almost completely contained within the frame and bowl of the drum. They may use any of the pedal mechanisms, though the balanced action system is by far the most common, followed by the friction clutch system. Many professionals also use these drums for gigs and outdoor performances because of their durability. Chain timpani On ''chain timpani'', the tension rods are connected by a Roller Chain much like the one found on a Bicycle , though some manufacturers have used other materials, including steel Cable . In these systems, all the tension screws can then be tightened or loosened by one handle. Though far less common than pedal timpani, chain and cable drums still have practical uses. Occasionally, a player is forced to place a drum behind other items so that he cannot reach it with his foot. Professional players may also use exceptionally large or small chain and cable drums for special low or high notes. Other tuning mechanisms A rare tuning mechanism allows the pitch of the head to be changed by rotating the drum itself. A similar system is used on Rototom s. Jenco, a company better known for Mallet Percussion , made timpani tuned in this fashion. In the early 20th century, Hans Schnellar, then timpanist of the Vienna Philhamonic , developed a tuning mechanism in which the bowl is moved via a handle that connects to the base, and the head remains stationary. These drums are referred to as ''Viennese timpani'' (''Wiener Pauken'') or ''Schnellar timpani''. Adams Musical Instruments developed a pedal-operated version of this tuning mechanism in the early 21st century. Timpani heads Like most (typically Calf skin or Goat skin) and Plastic (typically PET Film ). Plastic heads are durable, weather resistant, and relatively inexpensive. Thus, they are more commonly used than natural skin heads. However, many professional players prefer skin heads because they feel the heads produce a warmer, better quality Timbre . Timpani heads are sized based on the size of the head, not the size of the timpani bowl. For example, a 23" Timpani may require a 25" timpani head. STICKS AND MALLETS .]] Timpani are typically struck with a special type of – usually Hickory , Cherry , Birch , Persimmon , or Maple – or Bamboo , but may also be made from Aluminum or Graphite . The head of the stick can be constructed from a number of different materials, though Felt wrapped around a wood core is the most common. Other core materials include felt and Cork , and other wrap materials include Leather . Sticks can also have exposed wood heads. These are used as a special effect and in authentic performances of Baroque Music . Although it is not commonly written in the music, timpanists will change sticks – often many times within the same piece – to suit the nature of the music. However, choice of stick during performance is entirely subjective and depends on the timpanist's own preference, and occasionally, the wishes of the conductor. Thus, most timpanists own a great number of timpani sticks. The weight of the stick, the size of the head, the materials used for the shaft, core, and wrap, and the method used to wrap the head all contribute to the timbre the stick produces. In the early 20th century and before, sticks were often made with whalebone shafts, wood cores, and sponge wraps. Composers of that era often specified sponge-headed sticks. Modern timpanists execute such passages with standard felt Mallet s. IN THE MODERN ENSEMBLE A set of timpani A standard set of timpani consists of four drums: roughly 80 cm (32 in), 75 cm (29 in), 66 cm (26 in), and 61 cm (23 in) in diameter. The range of this set is roughly the D below the bass clef to the top-line bass clef A. A great majority of the orchestral repertoire can be played using these four drums. However, Leonard Bernstein requires the timpanist to execute both a top-line bass clef A flat and the B flat above it on the same drum in the Overture To ''Candide'' . Adding a 51 cm (20 in) ''piccolo timpano'' to the standard set of four extends the range upwards by a few semitones. This is the instrument which Igor Stravinsky specifies for the production of the B below middle C in '' The Rite Of Spring '', and from which Maurice Ravel excepts the D above that in '' L'Enfant Et Les Sortilèges ''. Walter Piston points out that "these small drums, even if available, certainly lack the characteristic resonance and sonority of timpani". Beyond this extended set of five, any added drums are nonstandard. Many professional orchestras and timpanists own multiple sets of timpani consisting of both pedal and chain drums allowing them to execute music that cannot be performed correctly using a standard set of four or five drums. Many schools and ensembles that cannot afford to purchase equipment regularly only have a set of three timpani. It consists of 75 cm (29 in), 66 cm (26 in), and 61 cm (23 in) drums. Its range extends down only to the F below the bass clef. The drums are set up in an arc around the performer. Traditionally, North America n and French timpanists set their drums up with the lowest drum on the left and the highest on the right, while German and Austria n players set them up the opposite way. Over time, that distinction has blurred: many German and European players have adopted the North American layout and vice versa. Timpanists Throughout their education, timpanists are trained as percussionists, and they learn to play all instruments of the Percussion family along with timpani. However, when appointed to a principal timpani chair in a professional orchestra or concert band, a timpanist is not required to play any other instruments. In his book ''Anatomy of the Orchestra'', Norman Del Mar writes that the timpanist is "king of his own province", and that "a good timpanist really does set the standard of the whole orchestra." A member of the percussion section sometimes doubles as assistant timpanist and plays timpani in some repertoire—such as Overture s and Concerto s—as well as any second timpani parts. Most pieces of music call for one timpanist playing one set of timpani. However, occasionally composers seeking a thicker texture or a greater palette of pitches ask for multiple players to perform on one or many sets of timpani. Gustav Mahler writes for two timpanists in six of his symphonies. Gustav Holst uses two timpanists to achieve the range of notes needed to echo the main theme in "Jupiter" from '' The Planets '' suite. Using two timpanists is relatively common in late Romantic and 20th Century works for large orchestras, although the early Romantic composer Hector Berlioz which calls for eight pairs of timpani played by ten timpanists in the '' Grande Messe Des Morts ''.
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