Timpani Tuning by J.B. Smith

Several issues must be addressed in order for a young percussionist to develop the skills needed to play the timpani: technical facility, tone production, instrument care and tuning. Of these, tuning is often the most difficult to learn. Ear-training should be regular part of a percussionist's study.

A basic course of study can progress as follows:

• Learn to match pitches. Using a pitch pipe, piano or keyboard percussion instrument, sing pitches after they are played.

• Learn intervals so that pitches can be derived from a reference tone (i.e., tuning fork). Begin by associating intervals with familiar melodies (like the perfect fourth that opens "Here Comes the Bride").

• Learn to "sing" counts during rests to make pitch changes. By combining pitch singing with rest counting players can be assured that they will both tune accurately and play in time.

As an example, during a two bar rest, a C on a 26" drum must be changed to a D. Sing the counts in the silent measures on the pitches that will be heard on the drums. In the first measure sing the counts "1-2-3" on the pitch C, on count "4" glissando from C to D while flicking the head with a finger or lightly tapping on the head with a mallet. In the second measure sing the four counts on the D pitch. By singing the glissando, the voice matches the sound of the timpani as the tension of the head increases. This allows the ears to better hear the change so that the feet can "put on the brakes" at the correct point. Musical example 1 is a short exercise which requires that a pitch change be made. During measures 3 and 4 the top drum is raised from C to D. In measures 7 and 8 the drum is returned to its original pitch. In example 2 the same part is shown with the sung counts written into the part. A good method book that can be used for this purpose is the Friese-Lepak Timpani Method. Starting on page 51 there are numerous short exercises which require pitch changes. Singing parts added in the rests insure that the pitch changes and rest lengths are accurate.

Tuning gauges have helped to alleviate some of the tuning problems experienced by timpanists, especially those of young players. More advanced players, however, must become fluent with tuning principals and interval relationships. Just as a trumpet player learns to adjust a slide in performance to accommodate tuning adjustments, so must the timpanist be able to match the pitches of an accompanist or the other members of an ensemble.