By Rocky Neill
A really accomplished workbook/cookbook containing hundreds of thousands of double-bass drum styles and words. There are loose audio records on hand that performs pages from all the first 15 sections within the ebook.
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Additional info for Mel Bay Complete Double Bass Drum Cookbook
It is helpful in giving timpanists a broader pallet of colors from which they can paint the part. Theory and Practice of Timpani Tone Production 33 Conclusion In this chapter, the author has examined the factors that inﬂuence timpani tone. The brand of timpani, mallets, playing style, the grip, composition of the drumhead, method of striking the timpani, and playing spot are important in shaping tone and articulation of a particular stroke. Timpanists are called to develop a sound that allows them to effectively execute their parts in an orchestral context.
See the companion Web site for a marked timpani part. 4. c Ÿ . Ÿ . 5 Compared to smaller drums, larger drums provide more tone color and a fuller, more voluminous sound. A B played on a 29-inch drum will sound much fuller, more colorful, and more resonant than a B played on a 26-inch timpano. Also, the pitch will be focused better on the larger drum because the note is played on a tighter head. As a general rule, if a note can be played on two drums (as the B above), play the note on the larger drum.
As a result, the larger timpano will speak at the same dynamic level as the smaller drum. On the other hand, if the goal is to execute a decrescendo descending from a smaller to a larger drum, the timpanist should place a similar amount of energy into each drum, realizing that the audience will hear a natural decrescendo that is a function of bowl size. That said, adjacent timpani, for example 26-inch and 29-inch drums, demonstrate less aural dynamic difference than timpani that are not adjacent (31-inch and 26-inch timpani).