if the pitch changes, the change is due to a poorly tuned head and not to

the penetration of the mallet into the head.

Why should we consider playing the depth of the head? First, we are
able to expand the tonal capabilities of our mallets without losing reso-
nance and pitch denition. As discussed above, moving toward the center
of the timpano darkens the sound but sacrices pitch denition and reso-
nance. Playing the depth of the head allows us to produce a dark sound
with full resonance and pitch clarity. Second, playing the depth of the head
permits us to progressively darken or lighten the sound. There are many
times in which we would like to play a roll that becomes progressively
darker. The opening section of Mendelssohns Fingals Cave has a hairpin
roll over two bars. The timpanist is asked to mimic the effect of a wave
moving toward the shore, falling on the rocks, and owing out to sea. One
way of musically depicting this natural sequence is to begin the roll on the
top of the head, progressively play to the bottom of the head, and then pro-
gressively retreat to the top of the head. Combined with a crescendo and
diminuendo, this technique effectively depicts the movement and power of
the sea. Third, playing the depth of the head gives timpanists the tools to
more effectively interpret our parts. In Romantic music, the timpanist
must go beyond the light, owing, articulate sound found in the Classical
music of Mozart. It becomes important to change the color of the sound to
match the changing emotion of the music. For example, there is a long roll
sixteen measures before rehearsal 6 in the last movement of Dvorks Sym-
phony No. 9 (the New World). In measures 4 through 6 of that roll, the
music becomes darker and then lighter again. To support this, the tim-
panist can play on the top of the head at the beginning of the roll, play pro-
gressively deeper into the head throughout measure 4, and retreat to the
top of the head by measure 7 (see example 1.1).

1.1. Shading tone

Progressively Progressively
Deeper Shallower

? c ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w w w w w
Z
The tonal effect of becoming darker and lighter can be used effectively
in the fourth movement of Brahmss Symphony No. 1. At measure 375, the
timpanist begins a roll on the top of the head, allows the mallet to progres-
sively penetrate the head until the forzando at the beginning of measure 376,
and then retreats toward the top of the head. In the last two measures of the
roll, the timpanist can again play deeper into the head, supporting the pro-
gressive darkening sound of the orchestra. In this passage, the effect of dark-
ening and lightening the color of the roll by playing the head is reinforced
by the crescendo and decrescendo in this passage. In sum, playing the head
permits timpanists to interpret and play the part more expressively.

Theory and Practice of Timpani Tone Production 19