(Meredith Music Percussion). Carlyss has provided a comprehensive performance analysis for the timpani parts of Beethoven's nine symphonies. His easy-to-understand explanations are based on countless performances under many of the world's finest conductors. Includes complete parts for practice and performance.

All 26 of the Standard American Drum Rudiments, their variations and a number of compound rudiments are used here to establish the countless possibilities which present themselves within the bounds of the drumming rudiments. The interesting library contains titles such as: * Stomping Through the Bar Line * Gingersnap * Ruffing Up a Storm * No Left Flam 6/8

Includes miscellaneous newsletters (Music at Michigan, Michigan Muse), bulletins, catalogs, programs, brochures, articles, calendars, histories, and posters.

Three Dances for Solo Timpani was written in 1998 and dedicated to percussionist Neil Grover. The dances can be performed as individual solo works or together as a suite. Melodic intervals and timbre contrasts provide color for each dance. Subtle ambiguity in rhythm, pulse, and pacing create a challenge for the performer and listener. The composer was influenced by several different styles and periods of music in the writing of "Three Dances."

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.