The
European
Timpani
TIMPANI
SETUP
TIMPANI
SETUP :
Various
rumours and theories circulate as to why two possibilities of setting up
the timpani have evolved, each a mirror image of the other (see diagram
below). In one setup the largest timpani stands on the left, and the
smallest on the right; the order of low to high notes is left to right, as
on a piano. The alternative is to reverse this and place the deep timpani
on the right (and the high on the left). This order of setup is common in
Germany, Austria, the Netherlands and the Germanic parts of Switzerland,
while its opposite exists throughout most of the rest of the world, most
commonly in England, France, America etc. (and Australia…)
However
each setup is by no means restricted to these countries alone. Because of
the distances which many orchestral musicians travel, both for study and
performance reasons (myself included), national borders no longer dictate
which type of timpani setup may be encountered in any orchestra. Frank
Aarnink and Louis Sauvetre for example, who both studied in Amsterdam but
hold positions in orchestras where the timpani are setup in the opposite
fashion, had to change from one setup to the other. They see no problems
with the change and are fluent in both styles, as are many timpanists who
move from one country to another. Often such changes are unavoidable, as
it is impossible because of the positioning of the pedals on the timpani,
to place American timpani in a Germanic setup, and vice versa. All
manufacturers offer their drums with a choice of either setup option, so
Jim Gordon, who studied in the United States, still plays with an American
style setup in a Dutch orchestra and says : ‘If
you have a piano background playing German style is very odd’
The
sizes given in the above diagram are not typical of each setup, but shown
merely as an indication of the possibilities available. But whether the
timpanist uses one setup or the other (and most are familiar with both)
there remains questions about the origins of these setups. Most theories
offered explain the German setup, and point to issues of balance and
acoustics in the orchestra between the timpani and double basses.
Maarten
van der Valk - ‘The way you are
sitting in the orchestra can be important. If high drum is on left and
basses are on left, it has a different outcome on the sound. In our
orchestra I sit left on stage (looking from behind) with the trumpets, and
basses right of me, in the middle.’
Old
prints of classical period orchestras show the basses sitting on the right
hand side of the stage (as seen from the timpanists chair); this seating
position is still favoured by some conductors today. In addition many
early timpanists were often originally double bassists, and as the strings
of the double bass are arranged with the lowest string on the right (as
seen from a playing position), it makes sense that these musicians would
arrange their drums in a similar setup.
There
is also a theory, dating from the time of the cavalry timpanist, where it
was necessary to place the larger timpani on the right hand side of the
horse, as the timpanist could only mount the horse from the left hand side
because of his sword and scabbard, worn down the left hand side of the
body. However cavalry timpanists were common throughout many parts of
Europe, so this does not explain why two opposite setups have developed in
neighbouring countries.
Finally
the late Richard Hochrainer, long time timpanist with the Vienna
Philharmonic, had his own theory : The sound of the smaller timpani
projects more easily than the sound of the larger timpani, which require
more strength and weight in the stroke to carry the sound. Placing the
deep timpani to the right of the player (who is assumed to be right
handed) will cause the strokes on this drum to be played with the leading
(and stronger) hand.