The European Timpani - Machine Timpani

In the evolution of the timpani, in between the baroque drum with its individually operated tuning screws to the pedal mechanisms of Pittrich and beyond, stands the machine timpani. This type of drum contains a mechanism which, through the rotation of a single “master” handle, all tuning screws or tension rods are turned simultaneously, altering the pitch of the drum in one swift hand operated movement.[1]

While perhaps the machine drum was eventually “superseded” by the pedal timpani, the most important aspect of its design has been incorporated into the pedal drums in the form of the fine tuner, a handle capable of more minute adjustments to the pitch than the pedal (on Premier timpani the fine tuner is a rotating disc situated below the kettle). Given the dexterity of the hand and its ability to perform the smallest of adjustments, this method of tuning by hand is considered to be much more accurate than what can be accomplished with pedals alone. It is especially helpful on old ratchet pedal timpani where it is at times impossible to be in tune when the desired note lies between two ratchet teeth.

Gerald Fromme – ‘2 pedals and 2 screws are the quickest method for tuning - the left and right placed timpani with screw allows you to tune the timpani quickest. (Two feet, two hands!) … The comfortable way is always the worst. The success is the result! (Or the reverse!)’

With such a setup the player can concentrate more on performing and less on fancy footwork, as the feet never leave the middle two drums. But helpful devices for fine tuning are one thing, and given that working, viable pedal mechanisms were invented over a century ago to increase the intonation possibilities of the instrument, why are machine timpani still seen regularly on stage in many orchestras? Partially it is for the tuning benefits, partially it is because of tradition, and partially it is because these were the timpani used to play a certain period of repertoire. Again we come back to the fact that a timpani cannot be chosen for one factor alone, it is a combination of properties which make the instrument. Machine timpani have an older style kettle and frame, and use natural skins, factors which shape their sound in a way that is thought to best suit the orchestra or the repertoire, so it is still the sound of the drum, not their technical capabilities, that will be the deciding factor.

The drawback of the machine drum is of course the fact that the hands are required for re-tuning tasks and obviously for playing also, two tasks that cannot be accomplished simultaneously, especially during busy passages or where both hands are in use, such as for playing rolls. However while using the handle might seem a slower method of changing the pitch, experienced timpanists can alter the pitch at lightning speed; on the Viennese timpani only a quarter turn (or less) is required to change the pitch by a tone.

Schnellar machine timpani, owned by Marinus Komst of the Royal Concergebouw Orchestra

Maarten van der Valk – ‘When experiencing dry air while playing and you notice the pitch is getting higher, you have to wait for the first possible break or short pause to adjust.’

Nick Woud – ‘Sometimes the machine tuned drums are fine … but to correct a wrong intonation with for example rolls or a virtuoso passage, is a big problem.’

Finally there are the Viennese timpanists who, by tradition, play most repertoire on machine drums (outdoor concerts are an exception). This poses some interesting problems (and solutions) when performing repertoire by composers who were definitely writing with pedal timpani in mind.

Michael Vladar (Wiener Symphoniker) – ‘I play the Concerto for Orchestra of Bartók on them : I must pay then a percussionist an eighth of wine, so that he turns the handle for me during glissandi. Otherwise one can play everything on them. The colleagues of the Viennese Philharmonic also play everything on them - all Strauss operas - that is not easy!’[2]

[1] Bowles’ article ‘Nineteenth Century Innovations in the Use and Construction of the Timpani’ gives a comprehensive description of the many hand and foot operated mechanisms invented to assist with altering the pitch of the timpani

[2] Kruse-Regnard, A., Die Wiener und die franzosische Paukenschule im Vergleich, p. 24