the excitement created by the utes triplet gure in the penultimate bar,

and brings a glorious overture to an appropriate end.

There are times when the timpanist gives a send-off to another instru-
mental section. The send-off is usually one note that connects the end of
one phrase harmonically, rhythmically, or melodically with the beginning
of the next. Often these notes can be played in legato fashion with plenty of
lift. The legato stroke provides a broad, full sound that connects the end of
one phrase with the beginning of the next. Lifting the stickdrawing the
sound out of the drumlifts the musical line into the next phrase.

Creating Emotion

If the primary function of music is to convey emotional meaning, then the

primary role of the timpanist is to help convey that meaning. Yet many
would question whether this is possible. In fact, the timpanist has a sup-
portive role in creating emotion. While the timpani lack the expressive
quality of the lyrical violin, the nobleness of the French horn, and the
plaintive voice of the English horn, the timpani support the orchestra in
creating a certain mood. Can the timpanist convey the feelings of anxiety,
love, sudden anger, gaiety (and happiness), pathos (and sadness), or nobil-
ity? Yes, and in interpreting their parts, timpanists must understand the
emotional effect the composer wishes to convey and use their technique,
sticks, timpani, and timpani heads to create the desired effect. Anxiety is
one emotion that composers use frequently, and the timpanist must be
able to create an anxious mood. Intensifying one note, a series of notes, or
a roll can do this. Anxiety increases emotional tension in a person and puts
the listener on edge. In playing a single note anxiously, the timpanist can
play staccato, harsher sounding notes. Oftentimes this is needed at the end
of a movement that builds up and suddenly releases musical tension in its
nal bars. It is not uncommon for composers to write a series of four or
six staccato notes that support the growth of harmonic tension at the end
of a piece. Timpanists may intensify a series of notes by playing each suc-
cessive note shorter and harsher. Using the theory of contrast, this means
that the rst note should be played more legato. Each successive note
should be played more staccato and with increasing tension in the arms
and upper body. Each note should sound somewhat more tense and
pointed. The nal notes should have a very little crack to them. A little
crack may sound objectionable to the timpanist, but because of the acous-
tics of the timpani and concert hall, the audience will not hear an objec-
tionable crackjust a sound that is lled with tension.
Finally, rolls can be shaped to increase anxiety. Relying on the theory
of contrast, timpanists can begin a roll very relaxed and as the tension
builds, they can increase the speed of the roll to the point that they over-
play the head; in other words, they play the roll faster than they should to
intensify the sound. To this the timpanist can add additional nuances:
gradually pinch the stick, use more staccato (harder) sticks, gradually play

54 Timpani Tone and the Interpretation of Baroque and Classical Music