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Timpani Tone and the Interpretation of Baroque and Classical Music explores the nature, production, and evolution of timpani tone and provides insights into how to interpret the music of J. S. Bach, Handel, Haydn, and Mozart. In drawing on 31 years of experience, Steven L. Schweizer focuses on the components of timpani tone and methods for producing it. In so doing, he discusses the importance of timpani bowl type; mallets; playing style; physical gestures; choice of drums; mallet grip; legato, marcato, and staccato strokes; playing different parts of the timpano head; and psychological openness to the music in effectively shaping and coloring timpani parts. In an acclaimed chapter on interpretation, Schweizer explores how timpanists can use knowledge of the composer's style, psychology, and musical intentions; phrasing and articulation; the musical score; and a conductor's gestures to effectively and convincingly play a part with emotional dynamism and power. The greater part of the book is devoted to the interpretation of Baroque and Classical orchestral and choral music. Meticulously drawing on original sources and authoritative scores from the seventeenth through nineteenth centuries, Schweizer convincingly demonstrates that timpanists were capable of producing a broader range of timpani tone earlier than is normally supposed. The increase in timpani size, covered timpani mallets, and thinner timpani heads increased the quality of timpani tone; therefore, today's timpanist's need not be entirely concerned with playing with very articulate sticks. In exhaustive sections on Bach, Handel, Haydn, and Mozart, Schweizer takes the reader on an odyssey through the interpretation of their symphonic and choral music. Relying on Baroque and Classical performance practices, timpani notation, the composer's musical style, and definitive scores, he interprets timpani parts from major works of these composers. Schweizer pays particular attention to timpani tone, articulation, phrasing, and dynamic contouring: elements necessary to effectively communicate their part to listeners.

Timpani baroque early music instrument database timpani solo marche de timbales by philidor cadet marieange petit timpani charpentier te deum les arts florissants directed by william christie harmonia mundi 901298 1989 trk 1 most baroque music calls for just two timpani pitched a fourth apart on the tonic and dominant of the key although there are exceptions

Timpani tone and the interpretation of baroque and timpani tone and the interpretation of baroque and classical music explores the nature production and evolution of timpani tone and provides insights into how to interpret the music of j s bach handel haydn and mozartin drawing on 31 years of experience steven l schweizer focuses on the components of timpani tone and methods for producing it

Timpani list of music best classical tunes these pages contain lists of music featuring the topic instrument it has a description of the instrument then there is a list of musical works opus in this site which feature that instrument with hyperlinks to the details pages for each piece of music

Timpani vienna symphonic library the timpani or kettledrum is the orchestral percussion instrument with the longest tradition it has been established as a staple of the symphony orchestra since the 17th century whereas in the baroque and classical period one pair of timpani was the standard four or even more instruments in romantic and modern works are common

Timpani tone and the interpretation of baroque and get this from a library timpani tone and the interpretation of baroque and classical music steven l schweizer timpani tone and the interpretation of baroque and classical music explores the nature production and evolution of timpani tone and provides insights into how to interpret the music of js bach

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