Page 1

P EDAL to the

kettle EtudEs

and

solos

for

timpani

by Kirk J. Gay

Š 2009 Tapspace Publications, LLC. International copyright secured. All rights reserved. www.tapspace.com Notice of liability: Any duplication, adaptation, transcription, or arrangement of the compositions contained in this collection requires written consent of the publisher. No part of this book may be photocopied, scanned, shared, or reproduced in any way mechanically or electronically without written permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.

TSPB-14


Pedal to the Kettle © 2009 Tapspace Publications, LLC, Portland, OR. All rights reserved. www.tapspace.com Cover design by Will Vizoso Photo contributions by Kris Gay, and Yamaha Corporation of America Note: Errata (typos) and additions to this text may be found by visiting the “Errata” forum board on the Tapspace Forum at: www.tapspace.com/forums.

Notice of liability: Any duplication, adaptation, transcription, or arrangement of the compositions contained in this collection requires written consent of the publisher. No part of this book may be photocopied, scanned, shared, or reproduced in any way mechanically or electronically without written permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.


C ontents Introduction

4

Two-Drum ETUDES Etude 1 Etude 2 Etude 3 Etude 4 Etude 5 Etude 6 Etude 7 Etude 8 Etude 9 Etude 10 Etude 11 Etude 12 - Gliss-a-rondo Etude 13 Etude 14 Etude 15

8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

Four-Drum ETUDES Etude 16 Etude 17 Etude 18 Etude 19 - Tympanic Metamorphoses Etude 20 Etude 21 Etude 22 - Grace (notes) Under Pressure Etude 23 - Beatin’ & Bangin’ Etude 24 - Bartók-o-rama Etude 25 - Extend Yourself Etude 26 - Rolling Down the Highway Etude 27 - Double Stop Trouble Etude 28 - A Flat Etude Etude 29 - High Performance Muffler Etude 30 - Déjà Vu All Over Again Etude 31 - Rock of the 80’s Etude 32

26 27 28 30 31 32 33 34 35 36 37 38 39 40 42 44 46

SOLOS for Timpani The Black Hammock The Back Forty Fanfare for Some New Drums Bolt! Los Cinco de Clubs The Attack of the Freezing Fog

50 52 54 56 60 64

About the Author

68


P edal to the Kettle

I nt r o d uCt I o n Thank you for purchasing this collection of etudes and solos. These pieces were written over the years for my students to present different technical and musical challenges while keeping it fun. It is my sincere hope that the content of these etudes will help prepare you for the challenges encountered in band and symphonic literature. The book is divided into three sections. Section 1 – Two Drum Etudes Section 2 – Four Drum Etudes Section 3 – Solos The pieces in each section progress from easy to advanced. The material in this book is intended as a supplement and not a substitute for a comprehensive method book. Some excellent method books that I recommend are: Modern Method for Timpani - Saul Goodman Timpani Method – Friese/Lepak Fundamental Method for Timpani – Mitchell Peters Exercises, Etudes and Solos for Timpani - Raynor Carroll

Please consider the following items as you work through the book. Tempo – Exact metronome markings are included for each piece. These markings are intended only as guides and are flexible. Altering the tempo a couple of clicks up or down is permissible, and you are encouraged to experiment as you create your own interpretation. Tunings – In almost all cases I have indicated the tuning changes in the music. Up arrows indicate a pitch change going up, and down arrows indicate a pitch change going down. If there is no indication, the tuning changes are left for you to determine what works best. Key Signatures – The etudes and solos are similar to parts encountered in band and orchestral music in their use of key signatures. Please pay close attention to these at all times to ensure the tuning is correct. Stickings – For the most part stickings are not included in the pieces. This was done intentionally to allow for individual interpretation. Different styles of playing may lean toward either shifting, crossing, or double strokes. In places where stickings are indicated, feel free to do whatever sounds and feels the best for you. Mallet selection – I have refrained from putting in specific mallet requests. In interpretating the music, choose the mallets that best suit your concept of sound. Try playing sections using different types of mallets: hard, medium, soft, etc. In band and symphonic literature one type of mallet may have to work for many different styles. 4


KIrK J. Gay

It is a good practice to try out many different mallets on an etude or section to become proficient performing the same material with different mallet types. Timpani Sizes – Timpani sizes vary. However, a standard set of four usually consist of the following: 23”- 26”- 29”- 32”. If you have a fifth drum, it is usually a 20” drum and is referred to as a “piccolo” timpani. In the two drum etudes section, I recommend which pair of drums to use, such as the bottom two drums (29” & 32”), middle two drums (26” & 29”), or the upper two drums (23” & 26”).

  29”



 26”

 

  23”



32”

  20”

Timpani ranges, according to drum size (sounds as written)

Notes on Practicing Use a metronome while you practice. Most music teachers advise their students to do this, but it bears repeating. Many times in a lesson I will ask a student, “Did you practice this with a metronome?” The answer is “No.” I then usually ask, “Why not?” And the answer ranges from “My battery died” to “I forgot!” Please use it now! It will help you forever. Practice in front of a mirror. This is always a good idea on whatever percussion instrument you are playing but especially the timpani. After you have been working on a section for a while, look away from the music and just watch yourself in the mirror. Watch your hand position, stroke, lift, side-to-side movement, etc. Due to the physical nature of performing on the instrument, practicing in front of a mirror is a good way to check your technique during performance. Record yourself when you practice. This is another must for skill mastery. This will allow you to hear things not obvious to you while you are playing. While working on an etude, your focus may be such that simple things like keeping time may go unnoticed. This is also good for when you are playing from memory to catch rhythms or notes that you “learned” incorrectly. Videotaping yourself is also a great tool to use when practicing. It combines both an audio and visual critique. The only drawback is sometimes the audio from a video camera can be distorted and not as clear as a digital audio recorder. 5


P edal to the Kettle

Use a towel when practicing timpani. This isn’t to wipe the sweat away from practicing hard but to help muffle the drums to hear if your stokes are even between hands. I like to use a large beach towel which enables me to muffle two drums at once. Place the towel on the drum head on the opposite side from the playing spot. Play excerpts of the etudes and solos and listen to hear if one hand sticks out or if your rhythm is uneven. Hopefully these suggestions will aid in your practice regimen. There are also many excellent “self-help” practice books (like The Practice Revolution by Phillip Johnston) that can help if you “hit the wall” when practicing.

Acknowledgments I want to first thank my family and especially my wife Kimberley for all their love and support over the years. Also, without the guidance of my many teachers this book would not have been possible. Earl Yowell, Robert Chappell, Rich Holly, Dennis DeLucia, John Evans, Jim Ross, Braham Dember, Eric Schweikert, Richard Weiner, Paul Yancich, and the late Cloyd Duff, each of whom has had an enormous impact on my playing and teaching. Next I would like to thank my many colleagues at the University of Central Florida, Dr. Johnny Pherigo, Dr. Keith Koons, Dr. Richard Greenwood, Ron Ellis and especially Jeff Moore, whose friendship and guidance have been invaluable to me. Special thanks goes to Staci Stokes and Pat Brown at Pro-Mark, Bobby Boos and Nick Petrella at Sabian, and Dino Riccio and John Wittman at Yamaha Percussion. Lastly I would like to thank Jim Casella and Murray Gusseck for giving me a voice in the world of timpani literature.

6


tWo-druM

etudes


P edal to the Kettle

Etude 1 This is a fairly simple etude and should allow the performer to work on his/her overall sound. Make the most out of the dynamics and accents. The etude should be played on the middle two drums. (26” & 29”)

q = 112

B-E

                    f

p

                   

11

 

mf

  

f

       

   

                     

       

22

f

                          

31

p

40

 

46

 

8

  

   

   

f

  

 

 p

      

 

ff



 


s eC tI on 1 - Two-Drum etudes

Etude 2 This etude is intended to develop your over-all sound while playing legato and staccato strokes. Remember that when you are playing a staccato stroke, you should still strive for a full sound. The second half of the etude works on basic rolling from drum to drum. Always lead with the same hand as the direction you are moving. When moving to the right, lead with the right. The etude should be played on the bottom two drums. (29” & 32”)

q = 120

F-Bb

3               f

6

3       

12

     

 

 

             3

       3



f

3

            



 

mf

   





            

17

                                        mp

21

      

26

30





    

  

mf

   

pp

       3 

    

  

    

  

  

  

      3

3



ff

 

 

p

9


P edal to the Kettle

Etude 3 This etude addresses long, sustained rolls. Try both metered and unmetered rolls, and remember that most of the time rolling slightly slower will produce a better sound from the drum. The etude is played on the bottom two drums. (29” & 32”)

 

q = 84

G-C



mf

7

  

12

   

      

        

 

     

mp

10

 

 

 

mp

3                       

p

 

 

 

 

f

                

17

 

f

  

fp

 

   


s eC tI on 1 - Two-Drum etudes

Etude 4 Etude 4 concentrates on moving quickly between drums. Again, I have purposely not included stickings so you can decide whether shifting, crossing, or double strokes will work best for you. Measures 10 – 17 are an excerpt from the solo The Black Hammock, which is located in the last section of the book. The etude should be played on the middle two drums. (26” & 29”)

q = 128

                      

Bb-Eb

p

5

                                f

                                   

9

mf

13

                                                            3      3

16

f

           

21

25

       p

 

    

 

 

   

                         3

3

11


P edal to the Kettle

Etude 5 In this study, work on getting an even sound as you move between the drums. The section at measure 17 features a long 16th-note passage. Come up with your own sticking patterns that sound the best and work for you. Remember the higher the pitch, the faster you need to roll, so your roll speed should be different between the C and the F. This etude should be played on the top two drums. (23” and 26”)

q = 104

C-F

                  f

   

8

f

 

  

          

     p

                

17

                                         mf

21

                 

26

 

3

 

   

34

40

  

12

 

 

f

3

   p

 

                  

 

        

3

3

    3

   

  

 

 

 

       f


s eC tI on 1 - Two-Drum etudes

Etude 6 This etude in 3/8 includes some passages from the third movement of Beethoven’s Symphony No. 1. The original is in a very fast 3/4, but for the purposes of this etude I have switched it to 3/8. Again, it is up to your discretion on whether you use shifting, double strokes, or crossing. The most important thing is that the notes are even, except the accented notes. The etude should be played on the bottom two drums. (29” & 32”)

q. = 100

                    

G-C

f

   

11

              

22

                         

       

fp

     

35

f

        

mf

      

                             

47

mp

                                  

57

f

13


P edal to the Kettle

Etude 7 This study addresses playing in 5/4 as well as muffling and double stops. Remember that to play staccato notes, you can muffle the drums and/or use a faster stroke. In measure five, from the “&” of 4 through the “&” of 1 in the next measure, you can’t muffle the drums but you should strive for a quick stroke to maintain the staccato sound. Keep the rhythm driving thoughout, and really go for it on the last famous 5/4 rhythm! The etude should be played on the middle two drums. (26” & 29”)

q = 120

A-E

  

4

                          3

3

3

3

mp

               3

f

3

                              3

3 3                                          

7

          

10

14

 

3 3                   

      

p

3                                

ff

   

3 3 3  3 5 3                                            3

18

        

21

fp

14

            3

ff


s eC tI on 1 - Two-Drum etudes

Etude 8 Etude 8 is a study in 5/8 time. It uses both 2-3 and 3-2 groupings. You may want to practice this etude with your metronome set to 8th notes to ensure a consistent pulse between the different groupings. The etude is to be played on the middle two drums. (26” & 29”)

q = 152

A-C

8

16

 

p

f

3                             

    

23

                          

  

  

                  

                

    

fp

   

   

      

ff

   

15


P edal to the Kettle

Etude 9 Etude 9 is a study in 12/8 time. It works on different rhythm groupings in the meter and hemiolas (three against two) as in measure 12. The etude should be played on the middle two drums. (26” & 29”)

                       q. = 132

A-D

mf

4

 

              

                  p

f

8

 

          

p 11

 

f

         

f

    

mf

                       

   

14

 

 

 

     

 

 

 

 

 



p

18

            

21

  f



      

                   

25

16

  

      

   

      






s eC tI on 1 - Two-Drum etudes

Etude 10 Etude 10 works on many syncopated rhythms found in 6/8 time. It also addresses changing from triple to duple meter. Through the meter changes, the pulse stays the same, so set your metronome, and you are all set! Please note that this is the first etude in the book with a key change which requires you to change a pitch. The etude should be played on the middle two drums. (26” & 29”)

q. = 120

Ab-Eb

                        mf

              

7

 

         

                                     q. = q

14

21

  

 

AbBb

         

p

f

                     q = q.

3                                 3

30

38

   

46

   

   

BbAb

                                   

  

fp

                            f

                       58                      54

mp

     

              

17


P edal to the Kettle

Etude 11 While this etude’s primary concentration is tuning, it should also have a tangible groove. In fact, practicing this to the accompaniment of a drumset beat can help to give you the right feel while playing it. When changing pitch, try to move the pedal very quickly and right before you play the note to avoid any extraneous gliss sound. The etude should be played on the middle two drums. (26” & 29”)

                                 q = 128

C-F

mf

5

   

BbC (1st x) BbAb

CBb

  1.    2.                           3 

AbBb

BbC

p

CAb

                                           

10

CBb

13

      

          BbC (1st x) BbAb

3                  

17

3

18

3

CAb (1st x)

ff

    

      

AbBb

BbC

   

 

CBb BbC

 

   

       


s eC tI on 1 - Two-Drum etudes

Etude 12 - Gliss-a-rondo I have nicknamed the etude for obvious reasons: It works on rolling glisses and is in rondo form! Try to make the connection of the gliss to the release note as smooth as possible. The etude should be played on the middle two drums. (26” & 29”)

q. = 112

Bb-Eb

          f

             

4

 liss.  g    

 liss.     g         

         gliss.         

BbAb (2nd x) p – f

                       

7

AbBb (2nd x)

       

10

                       BbAb

           

13

f – p

      

        

17

f

                   

     

AbBb (2nd x)

           

                     

20

fp

            

ff

19


P edal to the Kettle

Etude 13 The wide variety of rhythms at a slow tempo makes subdivision a key component in this etude. Make sure that you are keeping time in the open measures where you have pitch changes. I like to assign the pitch changes as part of counting. The etude should be played on the bottom two drums. (29” & 32”)

q = 80

G-C

 

    

   

mf

5

   



CBb 9

 

 

3

          6

3

3

                 5

mp

            6

GF

19

f

20



    

ff

BbC

6

6

           

     3          3

p

 liss.  g

5

6 3 3               

     



              

13

17

  gliss.

3

5

 

  

ff

  


s eC tI on 1 - Two-Drum etudes

Etude 14 Meter changes are abundant in these fast technical passages. The glisses notated in the 6/8 section should not be rolled. Again, make sure not to lose tempo when you have open measures with pitch changes occurring. This etude should be played on the top two drums. (23” and 26”)

q = 132

G-C

                              3

mf

3   3                                    

4

3

3

3

6                                                     

7

10

CD

q = q.

                             g       liss. mp

17

   

f

  g       liss. 

                       

24

4

q = 132

     

      

  



 

GF DC

                                  

32

mf

                               

37

3

3

                    

42

GAb

AbG

GF

3

3

      f

FG

           

21


P edal to the Kettle

Etude 15 Etude 15 is a culmination of all of the etudes up to this point. Observe all of the tempo and pitch changes and have fun! The etude should be played on the middle two drums. (26” & 29”)

q = 152

B-F

                                 3

f

6

    3

mp

   f

11

       

17

25

 FE

5                    5

 

 

 3

rit.

        

                   h. = 88

mf

BA

AB

BA

                                 3 AB

f

BA

                          

32

3

AB

mf

BA

40

         ff

22



AB

  

      AB ED


s eC tI on 1 - Two-Drum etudes

Etude 15 - page 2

2                                  

49

q. = 104

3

mp

       

53

DEb

EbD

DEb EbD 2

EbD

DEb

EbD

            2

ED f

DE

       DEb

mf

EbD

              

2

63

      DEb

      

58

2                      

2

DEb

EbD

                          DEb

       

67

 

4

EbE§

BA

          ED

q = 132

          

3

mf

73

3                                

DE

R L RR L R L L

  

79

87



gliss.

 

    

 gliss. 

     

DE

ED

5     3 3         

 

3

ED

           3

3

DE

3

 EEb

          23


P edal to the Kettle

                          e=e

97

f

ABb

   

    

                                

104

110

       

                             accel.

q. = 152

117

                                                                           

123

e=e

 

RR L L RR L L RR L L

R L L R L L R L

128

                                   3          3 3 3

3

RRL RRL RRL

    

133

BbAb

          

139

24

    AbBb

  

  

     

 

   

Permission granted to photocopy this page to help facilitate page turns.


Four-druM

etudes


P edal to the Kettle

Etude 16 This straight-ahead etude allows the performer to work on their overall sound. Be observant of the metric modulations in and out of the 3/4 section. The eighth note of the 4/4 section equals the quarter note of the 3/4 section. In this etude you should muffle wherever there are rests. Remember to lift, lift, lift!!

q = 120

F#-B-E-F#

                     mf

             f

6

          3

10

3

3

     

3 3                    mp

                      e=q

mf

                        f

17

25

q=e

    

29

         

26

 

    

3                   3

     

3  3                   


s eC tI on 2 - Four-Drum etudes

Etude 17 Etude 17 focuses on moving across all four drums. While playing this etude, make sure that you are hitting the head in the playing spot at all times. If you find yourself playing too far into the center of the head (one of the most common problems), you can work to bring your hands in closer to your body. It is also fine to move the drums slightly away from you. In measure 27 work on getting the dotted eighthsixteenth rhythm exact, taking care not to play it as a triplet rhythm and “swing” the figure.

q = 116

G-C-E-G

                      mf

6

                 

p

                  

           

                   

12

mf

                                      

16

20

    

 

                   3

f

25

                             ff

 

   

27


P edal to the Kettle

Etude 18 Etude 18 introduces varied triplet rhythms that move around the drums and works on tuning while playing. The tuning change that occurs between measures 21 – 25 is done while playing. You don’t have time to check the drum before you play it in measure 26. Make sure that you have a “feel” for the drums before you play and that you have an idea of the pedal movement between the two notes. Once you play measure 26, listen closely to make sure that your C is in tune and that you have a perfect fourth between the C and the F. To quote the famous timpanist Cloyd Duff, “It is not a crime to play out of tune. It is a crime, though, not to fix it!”

q = 138

F-A-D-F

           mp

7

  

11



 



  

          

f

3 3                              3

         

15

mf

        

3            

22

mp

28

            

DC

  

 

 

 

     

3                    

f


s eC tI on 2 - Four-Drum etudes

                 

27





3



      

                                            mp 3 3

33

3

3

3

38

3

3                                    f 3

CD

42



47



            3



   

3

  

 

 

mp

 

  

 

  

 

   

 

   pp

29


P edal to the Kettle

Etude 19 Tympanic Metamorphoses This etude is an ode to the timpani part from the 2nd movement of Hindemith’s Symphonic Metamorphoses. Tempo control, dynamics, and balance among all four drums is the focus of this piece. In measure 16 you can choose to use either cross sticking or doubles to play the repeated figure. Whichever you decide, be sure that the rhythm is even and all the drums speak the same. In the final section, work to get each dynamic softer than the previous dynamic. I like to muffle the C in the last measure while I play the D to really get that note to speak.

h = 72

A-C-D-F

                     ff

                  

  

6

12

1.

  

     2.



   

           

mp – mf

                      f

                                  

18

     

24

30

  mf

34

  

    

30

p

3 3                      

3

p

f 3

    

mp

  pp

 


s eC tI on 2 - Four-Drum etudes

Etude 20 Playing repeated rhythms around the drums is the main focus of this etude. Be observant of the dynamics and be sure to bring out the accents. Be careful with the transition in and out of the 6/8 section. The triplet rhythms in measures 24-28 set up the 6/8 feel. Practicing this etude with a metronome is a must to keep the tempo moving thoughout.

q = 128

G-Bb-Eb-G

                                 f

     

8

p

fp



f

            

   

f

     

p

                             3

17

f

p

mf

q = q.

3 3 3                                               3 3 3

24

3

3

3

f

EbD

                                  

31

                         4

37

        

44

49

q. = q

          f

4

    

 

DEb mp

 





              fp

f

 

     

      



31


P edal to the Kettle

Etude 21 Etude 21 explores different permeations within Scottish-inspired sextuplet rhythms. Play this etude under tempo at first to make sure that you are playing all of the rhythms correctly. Then you can work to slowly build up the tempo. Have fun and “keep it reel!”

q = 88

6

6

6

6

                                         

F-Bb-D-F

f

3

6

3

6

6

6

6

6

                                     3 RR L L RR L L R L R L R L R L 3

3

fp

6 6 3                                 

5

6

f

p

6 6 6 6                               

9

R

6

LRRL

6

mf

                                     

12

3

3

6

f

14

6

6

6

3

3

6

6

                             

15

                   3

6

32

3

6



 

6

        3


s eC tI on 2 - Four-Drum etudes

Etude 22 Grace (notes) Under Pressure Grace note variations are featured in Etude 22. The way in which you interpret the space of the grace note or notes to the primary note is a personal preference; however, make sure they are all the same. When the grace notes are on one drum and the primary note is on another, be careful not to have too much space between them. Again, work on consistency with your flams and ruffs.

h = 88

G-Bb-Eb-G

      

      

 

3



mf

 

 

3 3                             3

   

3

  

8



 

 

 

mp

 

4

3





  

 

                                             

12

3

3

15

  

18

   

    X



mp



  

27

   



f





                     

32

3

3

3                      

 

3

mf

 

3

p

          

   

GF

 

FG

f

f

 

3

                                    

23

   

3

3



 



gliss.   

 

GEb

     

 

3

33


P edal to the Kettle

Etude 23 Beatin’ & Bangin’ Beatin’ & Bangin’ is a racing term for when race cars “bump” into each other when racing. Hopefully you won’t bang into anything while playing this etude. However, speed is the main focus of this piece. It features some very fast and challenging rhythms that not only move around the drums, but also move back and forth from duple to triple. Most of this etude is taken from the solo Bolt! located in the last section of the book.

q = 148

E-A-D-G

         

            

mf

4

                               

7

                        3

3

3

                           

10

3

f

3

                                     6

13

  

    

16

p

20

3

                   p

mf

                        3

3

3

3            3          3 3

23

26

 

34

                         3

3

3

ff

         p

 

  


s eC tI on 2 - Four-Drum etudes

Etude 24 Bartók-o-rama Béla Bartók has provided timpanists with some of the greatest music of the 20th century. He was one of the first composers to write for widespread tuning changes and feature glisses as a musical idea and not just a special effect. This etude pays homage to Bartók and utilizes many techniques from his music. I have not included tuning suggestions. There are many different tuning schemes possible. Find the way that works and sounds the best for you.

e = 168

G-A-D-G

   

mp

                

               

8

15

        

34

  

mp

            5

3

ff

         

mf

                 

    

gliss.     gliss.     gliss.    

24

30

  

5

 g  liss. 

p

         ff

   mf

  



                      mp



rit.

 

 

35


P edal to the Kettle

Dedicated to Dennis DeLucia

Etude 25 Extend Yourself Extend Yourself features many different techniques that timpanists are sometimes asked to perform. It is written for four timpani and two Remo Roto-Toms. If Roto-Toms are not available, you can play the notes down an octave. Some of the other techniques used in this etude are playing with the backs of the mallets, playing buzz rolls, playing on the bowls, and playing with your hands on the head. I usually cringe when I see a timpani part that asks the performer to play on the bowls! The worry here is obviously denting the copper bowls. Be careful where you hit and try not to hit it too hard. A light stroke can give you the proper sound without creating a crater on the bowl. This etude is dedicated to Dennis DeLucia, who has always encouraged me to “extend myself” and try different things musically. Also, it is hard for me not to think of Dennis when I think of Roto-Toms!

q = 104

  





               AB 6                                 

F#-A-C#-F# (C#-F#)

BA

         

13

AB

  



BA





RH back of mallet

               

                                 

20

rit.

28

   

          

Lighty on the bowls

q = 80

       

Backs of mallets

RH = w/fingers LH = felt head of mallet 3

          

rit.

6 6 3                                                    

37

3

                                        

43

36

3

Brush fingers on head in swiping motion


s eC tI on 2 - Four-Drum etudes

Etude 26 Rolling Down the Highway Rolls are the main focus of this etude. The center section in 6/8 features a challenging passage of constant rolling while tuning. As stated in the first section of the book, always lead with the same hand as the direction you are moving. When moving to the right, lead with the right, etc. Work to make the gliss in the next to last measure decrescendo and place the last note right in time. Resist the tendency to let a space open up before the last downbeat.

 

   

q. = 72

G-B-D-F

p

6

 

f

                      

 

p

           

    

         

11

 

  

 

 

 

    

f

                            3 3

15

22

 

FG 29

  

 

       

GF

CB

mp

  

f

p

 

 

 

AB

 

BC

               

f

                                     

                   

38

   

4

4

33

mf

     

BC

         

CB

BA

mf

mp

           

BC

 

 

 

ff

      

 

 

        gliss.



p

37


P edal to the Kettle

Etude 27 Double Stop Trouble Double stops (playing two pitches simultaneously) can be problematic to play on timpani. This etude explores different variations of double stops. The point of this etude is making sure that both notes are struck at the same time and not “flammed.” In measure 32 you will play the note C on both of your middle two drums. Work to make sure that those notes are exactly in tune. This can be very tricky. The time signature on this etude can look daunting, but the tempo is rather slow. With a little study, the time signature will become second nature. The sixteenth note of the 5/16 equals the eighth note of the 3/4 so set your metronome to 116 and work on conquering Double Stop Trouble!

                                       x = 116

A-Bb-Eb-F

p

mf

mp

                                                   

7

5

5

f AAb

13

    

19

                             ff mp x=e

f GF

AbG

         

                                3 mp

6

mf

3                                         3    

22

f

        

     

27

mp

   

33

38



3

f

 EbD BbB



                              3

3

5

6

 DC BC



  

 


s eC tI on 2 - Four-Drum etudes

Etude 28 A Flat Etude Elongated and multiple meters are the main focus of this etude. The 16th will stay the same through all the meter changes. Throughout this piece, there are many passages that require you to work through the stickings. Whether using doubles, crosses, or shifting, make sure the passage has a nice flow and that all the notes are even.

q = 100

Ab-Cb-Eb-Gb

         

        

 

pp

3

3 3 3 3                                       3

p 3

3

        

5

f

3

3

3

3

         

 

3

   

5                       

7

6

3

mp

ff

 

 

CbDb

9

                           

10

mf

x=x

                                                                    

13

                              

20

DbC§

24

          

GbAb mp

C§Cb

     

ff

 39


P edal to the Kettle

Etude 29 High Performance Muffler High Performance Muffler, as you would think, works on muffling. This includes some intricate tuning while muffling. While the tempo of 108 beats per minute may seem on the slow side, this can be deceptive. Practice this etude under tempo, then work up to the printed tempo. One section to point out is measures 40 – 41. You will be muffling one drum while playing open on another, then switch the technique to the other hand!

q = 108

F-Ab-C-Eb

            mf

5

          

f

       

                     

mf

    

             

  

10

                                                   

14

f

 

mf

      f

  

 

 

 

   

 

 

        FG

20

EbF

                                          mf AbBb

40

GF


s eC tI on 2 - Four-Drum etudes

24

        

                           f

FG

rit.

GAb AbF

CD

A tempo

    

mp BbAb EbC

DEb

29

                                    AbA§

A§Ab

3 3                              

34

AbA§

              f

39

44

          

48

          

        

A§Ab

     

  

FEb

 

mf

   

           f

mf

 

    

       

        

                               ff EbF 41


P edal to the Kettle

Etude 30 Déjà Vu All Over Again This etude is a four-drum version of Etude 14 from the first section of this book. The rhythms are all the same: however, the measure rests have been extended to facilitate the added tuning changes. Meter changes are abundant in these fast technical passages. The glisses notated in the 6/8 section should not be rolled. Be careful not to lose tempo while tuning in the open measures of rest.

q = 132

G-C-E-G

                              3

mf

3               3                        3 3 3

4

R L R R L R L R R L R L R R L L

                                                6

7

R L R R L R L R R L R L R

10

R L R R L R L R R L R L R R L L

ED CB

q = q.

                       mp

                gliss.     gliss.        

18

f

42

 

      


s eC tI on 2 - Four-Drum etudes

Etude 30 (Déjà Vu All Over Again) - page 2

26

                    4

                GF

 

  

BBb DC GF

q = 132

                                  

32

3

3

mf

3                               

37

42



3

                   GAb

AbG

GF

 

   

f

FG

         

43


P edal to the Kettle

Etude 31 Rock of the 80’s Etude 31 is a student favorite. This salute to 1980’s rock should have a groove feel in each section. In measures 29 – 35, the high F should be brought out over the left-hand ostinato. I have added stickings in a few of the sections. Feel free to make little changes in them to discover what works better for you. Work to bring out the accents where notated.

q = 142

 

G-Bb-C-G

5



10



 





f



      GA



   



   

 



          

         

    

AG

BbB§











 

B§Bb

                          

15

GF

20

FG

                          A little faster q = 152

L

mf 27

 L

 R R

 L

 R

R

R

L

R

L

R R L L R L

R

L

L

R

L

R

                              GF

f

L

L

                                      

33

44

FG


s eC tI on 2 - Four-Drum etudes

Etude 31 (Rock of the 80’s) - page 2

40





q = 132

      

      GF

                 R L R L R

L R

L R L R L

R L

45

                                    R L R L R L R L R L

R

50

L

R

L

R

R

L

R L R L R

L

R

R

L

R

L R L R L

R L

                                          X

RL R L RL RL RL

X

R L RL RL RL RL

R L RR L RRL RR

L R

R L

R L R L L

R

L R

                                   

56

FG

q = 142

                                    R R L R R L R L R L R L R L R L R L

63

f

                                  

71

L

R R L R R L

79

 

        R

R

L

R

          

83

R

R

L

R

R

L

R

R

L

R

   

R

L

R

L R L R L

      L

R

L

R

L

R

R

       R

L

Slower

 

R

R

L

      GF 45


P edal to the Kettle

Dedicated to my brother, Chad Gay

Etude 32 This etude is dedicated to my brother, Chad Gay, who is a percussionist and music educator. He is also the inspiration for the theme of this etude! The etude starts out with five pitches, C – B (H in German) – A – D – G. Etude 32 is a theme and variations based on these five notes. There is a potpourri of technique throughout. Many are from earlier studies found in this book. You will find tuning changes, meter changes, polyrhythms, muffling, rolls, and much more.

A-C-D-G

      CB mf

      

7

   

  BC

        

mf

q = 76

 

mp

          CB

q = 52

 

BC

  

accel.

                 mp

CB

12

                                      BC cresc.

15

CB

q. = 88

                       f

                              

17

fp

                                  

20

fp

  

23

46

fp

   

                      

mf CB

BC

CB

BC


s eC tI on 2 - Four-Drum etudes

Etude 32 - page 2

28

                              CB

BC

CB

AG p

BC

3                              

34

mf

fp

     

39

GA 46

ff

3                       

q = 168

     

f

                 CB BC AG

mp

 



CB

BC

  f

CB GA

                              

54

BC

  

60

q = 142

CB

            5

3                      3 3

GF

65

                      

69

     

BC

      

74

5

5

 

     

CB

FG

                    

CB

  3          

BC

rit.

gliss.

BC

  

     mp

 pp

q = 88

 

mf

 

 47


P edal to the Kettle

   

80

Etude 32 - page 3

    

84

       3

p

                          3

3

3

3

AG

87

3

                         f

L R R L

CB

89

6

6

                 6

6

6

  

ff

BC

                               p

99

CB

           BC

mf

BC

CB

                          

116 q = 76

  

  

f

   

CB



BC

CB

                                     

108

48

        

e = 146

93

121

6

6

        

BC

  

        mp

         

mf CB

 

   

 

 



       

p

Permission granted to photocopy this page to help facilitate page turns.


SOLOS

For tIMPanI


P edal to the Kettle

Dedicated to Jim Swartzlander

The Black Hammock This programmatic solo depicts an alligator swimming through a Florida swamp. The beginning Adagio section should be played with medium soft mallets and should have an ominous feel, like an alligator stalking its prey. In the Allegro section, switch to medium-hard mallets to assist with the articulation. It is wise to spend some time on measures 27 – 33 due to the tricky stickings. For your reference, this passage is also featured in Etude # 4 in the first section of this book. For the last Adagio section, switch back to the medium soft mallets. The last two bars of this section depict the alligator catching its prey! For the gliss, you will want to put the pedal all the way down to the lowest note possible, strike it, and gliss up. As the gliss moves upward, put down your mallets and pick up a slapstick for the final snap! To assist you in the switch from mallets to slapstick, you can put down one of your mallets in bar 56. Be sure the stand with the slapstick is staged close to you so you can make the switch smoothly.

Adagio q = 68

B-D



3                          3

mp 6

 

      3

   

12

BBb DEb

p

          

Allegro q = 128

              mf

          rit.

 

           

                              

17

    

mp

3 3                                

22

3

50

   

f




S e c t i on 3 - Solos for Timpani

The Black Hammock - page 2

27

                                

31

3                                   3

3 3 3 3 3 3                           

34

mf

3

39

    3   3       

44

       mf

50

Adagio q = 68

   

mp



3

     

   3

3

3

   

mp

   

ff

rit.

    

                     

54

3

3

    

pp

      

3

 

 

        



BbAb

      

slapstick!

gliss.

lowest note possible ff on low drum

51


P edal to the Kettle

Dedicated to the memory of my grandfather, Ralph Kemerly

The Back Forty This is a dedication to my grandfather, Ralph Kemerly, and is a musical depiction of his farm in Indiana. In the back of his property there were 40 acres of open grassland with a small pond. This was referred to as “The Back Forty.” The piece is somewhat atmospheric and evokes sounds of nature. The solo calls for four timpani and large suspended cymbal. A medium thin cymbal will work best. Also, timpani mallets with a felt core are important for this piece. Mallets with a wood core will produce a harsh sound on the cymbal. My mallet of choice for this piece is the Cloyd Duff #2’s. The glisses in measures 33-34 are not rolled. In bar 56 you will put down your right mallet and use your fingers. Throughout this section your fingers will be used for the diamond notes and the mallet in the left hand for the regular notes. Measure 65 is an ad lib for your right hand over the ostinato in your left. Etude 25 works on this technique and offers some ideas for the ad lib.

q. = 52

Large Sus. Cym G-C-D-G 4



9



   

                          

mp

                   

  

 

 

 

 

          

  

mf

11

                                   3

3

3

3

             

13

16

 

20

52

          

p

3

3

3

CB

                 

mf

                

q = 104

BC DE

      f

                             


S e c t i on 3 - Solos for Timpani

The Back Forty - page 2

                    

24

 

3

           

3

3

f

3

f

f

29

                                 p

f

34

 gliss.

 

p

  

        

41

           

47

 

ED

5

 

    

 

sus. cym.

mf

   

62

 

remove mutes

       3

mp

3

 

3   6            3

ff

6

  

 

ad lib w/RH   3                                      3

q = 68

      3

   3

3

 

                

 

mf 74

        3

3

mp

 

mp

             3

5

with fingers

p

      

mute C & G 3                           3 3

56

68

 gliss. 

 q = 80

                    

52

gliss.

f

  gliss.   

3

p

3

       

 

  



53


P edal to the Kettle

Dedicated to Jeff Moore

Fanfare for Some New Drums This duet was written in response to the arrival of a new set of timpani and concert snare for the percussion department at the University of Central Florida. It is dedicated to my colleague and good friend, Jeff Moore.

                     f     3                       q = 94

Timpani F-Bb-D-F

Snare Drum

3

f

4

  

    

54

Ad lib

          

Ad lib in concert style

fp

   

       

 

fp

12

            

B

 

                   3                                 

 7

A

 

C

 

p

            

mp

         



 

 

6 6                               

 


S e c t i on 3 - Solos for Timpani

Fanfare for Some New Drums - page 2

15

D

   

2

  

    

  

 

          

  3           

E

   

     

   

 9           RLRLR L RLRLR L R LRLRL RLLRL LRL L

                     

21

f

18

          

f

                       

Permission granted to photocopy pages 54-55 for duet performance only.

   

fp

fp

3  

 

       ff

       ff

55


P edal to the Kettle

For Chris

Bolt! The name of this solo refers to the Roman messenger of the gods, Mercury. Mercury was known for his quick speed, which is the focus of this solo. The first measure should begin with a single note and then slowly accelerate. Try not to focus on the number of strokes in the first bar. Focus more on the accelerando before the release in measure 2. In measures 40 – 44 the notes with dashes should be emphasized but not accented. The center section starting at measure 62 represents the Roman god Jupiter and should be played with a heavy, majestic feel. Measure 88 goes back to the Mercury theme until the end. The last measure should be the inverse of the first measure and should fade away to nothing. This solo was written for student Chris McWilliams for his senior recital at UCF.

Slowly q = 40

 

med-hard mallets

E-A-D-G

f

mp

        

11

3

                 

4

8

q = 148

accel.

    

    

   

       

3

3

 

               

mf

                       3

3

3

                             

14

3

17

56

3

                                  6

fp

f

3


S e c t i on 3 - Solos for Timpani

Bolt! - page 2

          

 

20

25

    

p

      

                  p

mf

              5

    

mp

                                   3

32

3

                                    

39

f

3

3

mp

mf

3 3  3                                             

43

f

f

3

3 3      3 3  3                    3        3 3 p

47

54

                        3

3

3

ff

 

 

 to med-soft mallets    57


P edal to the Kettle 62

q = 78

   ff

67

   

    3

72

    3

f

   

3

    

       gliss.  gliss. 

77

mp

83

 

Freely q = 40



p 88



mf

q = 148

         mf

 



 





  



   

  

      

   

           5

mf

          3

3

ff

 liss.  gliss.  g 

3

to med-hard   mallets  

                

91

                               

94

58

                         3

3

3


S e c t i on 3 - Solos for Timpani

Bolt! - page 4

3 3                                       3

97

mp

3

101

                  mp

104

                   3

f

107

  



                 3

111

3

ff

3

   3

3                                                   3

RR L L RR L L R L

114

 

117

RR L L RR L

3

L

3

3

                             3 3

3

3

3

    

3

3

R R L R R L R R L L R R L

               6  X

L.V.

X

R L R L R L R L R

                       rit.

119

3

3

R L

RR L

3

ff

3

p

59


P edal to the Kettle

For Joe

Los Cinco de Clubs As the name implies, Los Cinco de Clubs is all about the number five. Patterns of fives, intervals of fifths, five-lets and more are all featured in this solo. The improvised section at measure 135 allows the performer to explore patterns of five with the noted pitches. The solo was written for student Joe Moore for his junior recital at UCF.

                                   q = 55

F-Ab-C-Eb-G

ff

    

5

                        5

mp

3

9

                               5

f

13

    

 

mp



 



q = 148

  

             

mf

                                   

17

21

                

5

 

    

 

            3

f

                                         mf

25

                                   

30

60


S e c t i on 3 - Solos for Timpani

Los Cinco de Clubs - page 2

                                        

37

fp

45

                             ff

                    

54

       

              p

                                           5  f

63

                                       

73

3 3 3 3 3 3                              

83

sfz

        

90

3

3

3

3

3

3

3

ff

98

     

h. = 72

 

mf

 

3

                    mp Slowly

accel.

                   R L R L R L R L

                                    

104

pronounce LH

RR L RR L RR L

61


P edal to the Kettle Los Cinco de Clubs - page 3

110

                   RR L L RR L L RR L L

117

       

 

    ff

135

3

 

3

gliss.

 

 

       

fp

 

   



q = 60

               

ff

                  

62

gliss.

,

   

138

142

 

   

 

3

Improvise for 30-45" using different groupings of five with these five pitches.

    

145

R

  

         

        

128

 

      

125

 

        

 

5

p

   

5

5

5

       

p

      3

3

                  


S e c t i on 3 - Solos for Timpani

This page intentionally left blank.

63


P edal to the Kettle

The Attack of the Freezing Fog I am a fan of old monster movies, and this is my musical tribute to that genre. The creation of the monster, the fight and defeat, the resurrection, and final triumph are all laid out throughout this solo. It requires double-ended or two-sided mallets that include wood and felt. The Pro-Mark Tom Freer 50/50 Felt/Wood mallets (FDS4B or FDS4H) work great for this piece. You will need to spend some time on measures 31-38 and the ending recap due to the level of difficulty. Work out each hand and then slowly add them together beat by beat. This solo is extremely difficult and should not be played by the faint of heart!

Adagio q = 68 F-Ab-C-F-Ab

    

 

       

mp

          s.    glis

7

mp

            

14

LH switch to F/W mallets

p

 

med. mallets

+RH

 

mp

  liss.  g

         f

         

mf

q = 132

  

                    

felt

wood

felt

wood

mf

                               R R R R R R R R

20

felt

mp                                                    f

24

LH = wood

                                

28

wood

                                 

32

R L R L

R L R L

64

L

f

R

L

R

       wood

felt

               R L

                               

36

f

         felt

mp


S e c t i on 3 - Solos for Timpani

Attack of the Freezing Fog - page 2

rit.                                           

40

 

                                    p

45

q. = 144

med-hard felt mallets

                                        R L R L R L L R L L R L R L R L R R L R R L

51

                                  

57

R

         

63

L R L

L R L R L R

L R L

R

L R L R L R

                               mp

                                        

69

R L R R L R

f

R L R R L R

                                        

75

                                    

80

  p

                            

87

R R L L R R L L R R L L

p

                     

92

R R L L R R L L R R L L

R R L L R R L

 

                

65


P edal to the Kettle

Adagietto q = 88

              

97

mp

                            mf

accel.

102

                    

 

Allegro (q = 144)

     

   

3

f

                           

107

             

111

118

    

123

Heroically

   

  

         3

   

    

                

3

  

ff

  

      



       

    3                 3                          

127

                   

131

R L R L R L R L RR L L RR L L

mp

f

          5

                                               

135

66

3

3


S e c t i on 3 - Solos for Timpani

Attack of the Freezing Fog - page 4

                                                

  X   X   

139

R L R L R L R L

X X X                                  3 3 3 3 6

144

3

R L R L R L R L R L R L

6

R L R

6

                   3 3

147

fp

RRL LRRL L

                                       3

150

ff

        

67


a bout

the

a uthor

Kirk J. Gay is currently the Coordinator of Undergraduate Studies and an Instructor of Music at the University of Central Florida in Orlando, FL. He teaches student lessons for the percussion studio, directs “Black Steel,” the UCF steel drum ensemble, and coordinates the Marching Knights Drumline. He is a Yamaha Performing Artist and Clinician and an endorser and clinician for Pro-Mark sticks, Sabian Cymbals, and Sticktape.com. He has works published by Tapspace Publications.

An active clinician, Mr. Gay has presented many clinics and master classes at universities and high schools in the U.S. and abroad. He has performed clinics at the Florida PAS Day of Percussion and the Percussive Arts Society International Convention. Mr. Gay has also published numerous articles for Percussive Notes magazine, the Texas Bandmasters Association, School Band and Orchestra Magazine, and is the editor of the Florida PAS newsletter.

Photo: Kristi Gay

Mr. Gay obtained his Bachelor’s degree in Percussion Performance from Northern Illinois University. He later went on to study with Paul Yancich and Richard Weiner at the Cleveland Institute of Music where he received his Master’s degree in Timpani Performance.

In 1998 Mr. Gay toured Europe with the New World Symphony under the direction of Michael Tilson Thomas. He has performed with the Walt Disney World Orchestra, The Fort Wayne Philharmonic, The Orlando Philharmonic, and currently is the Principal Percussionist with The Brevard Symphony Orchestra. Mr. Gay marched in Star of Indiana Drum & Bugle Corps from 1986 – 1989, where he was 1989 DCI Timpani Individuals Champion and two-time DCM Timpani Individuals Champion. He has taught and written for many drum and bugle corps including The Crossmen, Phantom Regiment, Magic of Orlando, and The Yokohama Inspires from Japan. Mr. Gay was head arranger and percussion coordinator with the Phantom Regiment in 1996 when they won the DCI Championship. He has also written for many bands across the country including Cypress Creek H.S. (FL), Churchill H.S. (TX), and Northrop H.S. (IN).


Pedal to the Kettle  

Pedal to the Kettle by Kirk J. Gay. © 2009 Tapspace Publications, LLC. Portland, OR. All rights reserved. International copyright secured. w...