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Two timpani tuned in unison will ring sympathetically with one another. If the player strikes one drum loudly and then muffles it, the sympathetic resonance of the other drum can be heard (figure 6.20). This effect is extremely subtle, but a glis-sando (on the drum not struck) can be used to make the sympathetic resonance more noticeable.

Timpani can also be used as resonators for other non- percussion instruments that are played into the heads of the drums while the pedal is adjusted (with trumpets in Jefferson Friedman’s Sacred Heart: Explosion and trombones in Christopher Rouse’s Seeing).

Tom- Toms

 Video 6.f— Tom- toms, Snare Drums, Bass Drums

A tom- tom (or just tom) can have one or two heads (just the top batter head, or both top and bottom heads) and comes in a variety of sizes and pitches from very high to very low (figure 6.21). “Tom- tom” refers to a drum with no special features.

Figure 6.19 Timpani harmonics Source: From Elliott Carter’s Adagio, from Eight Pieces for Four Timpani.

Figure 6.20 Timpani sympathetic resonance

Snare drums, field drums, tenor drums, timbales, roto- toms, bongos, and congas have special characteristics that make them more than just tom- toms, but they could all technically be described and even used as tom- toms.

Concert tom- toms are traditionally single- headed, while drumset toms usually have two heads. Two- headed toms are more easily capable of the boom- y sound pop-ular with rock drummers.

These drums are almost always used as indeterminately pitched instruments.

They can be tuned if necessary, but the pitches are not especially clear. Roto- toms are often used when tuned tom- toms are requested because the pitch is easily adjusted.

It is not advisable to specify pitches for drums with snares because the snare sound can obscure the pitch. With the exception of roto- toms, the pitch of a drum cannot be changed within a piece; changing the pitch of roto- toms is possible but awkward.

Chinese tom- toms have a unique shape, with two calfskin heads. They come in a variety of sizes and have a dry and dark sound. They are not as widely available as Western tom- toms or the other drums described in this chapter.

Snare Drum, Field Drum, and Tenor Drum  Video 6.f— Tom- toms, Snare Drums, Bass Drums

The snare drum (also side drum or military drum) can come in a variety of sizes, from piccolo to field drum. A piccolo snare drum is just a few inches deep and is very bright and responsive. A standard snare drum ( figure 6.22a) is 4 to 6 inches (10–

15 cm) deep, and a field drum ( figure 6.22b) can be 12 to 16 inches (30– 40 cm) deep.

A tenor drum is simply a field drum without snares. Snare drum shells are made of wood, brass, fiberglass, steel, or other materials.

Snare drums have both a top and a bottom head and have snares. Snares are wires that run across the bottom head of the drum and vibrate when the top head is struck;

this gives the snare drum its unique sound. The snares can be lowered away from the head by use of a snare throw off or clutch, indicated as “snares off.” The snares can be turned on or off easily during performance, but there must be some time (about a Figure 6.21

Tom- toms Photo courtesy of Pearl/ Adams Percussion

second or two) allotted to do so; without proper time for this switch, extra noise may be produced. A snare drum with the snares off is just a tom- tom. If there is no indica-tion for snares on or off, “snares on” is assumed.

Snares add a bright timbre to the drum. The snare drum, even at soft dynamics, has a lot of cutting power, and thus has difficulty blending well with darker sound-ing instruments. Because of the very tight articulation that the snares create, rolls on snare drums, especially those at soft dynamics, should always be executed as buzz rolls with drum sticks. Single- stroke rolls with mallets or hands tend to sound choppy and unappealing.

The sound that the snares produce depends on the material or combination of materials used and the tightness of the snares against the head, neither of which is commonly specified by the composer. Any indication with respect to the timbre of the snares is rare, but a “wet” or “dry” sound may be specified. Drumset players sometimes use a wet snare; a dry snare is more of a marching band sound. Both are used in concert music for a variety of effects, but generally a concert snare sound is dry.

Snares are sensitive and often vibrate sympathetically with just about everything else. The wetter the snare, the more sensitive it is. Timpani, tom- toms, a marimba, or a vibraphone located close to a snare drum— or French horns, whose players are often positioned right in front of the percussion section in an orchestra— are com-mon causes of snare noise. If a snare drum is used with other toms, those toms might vibrate the snares and sound as if they have snares themselves. The size and volume of an orchestra can usually cover the buzzing snares, but that buzzing can be a real problem in chamber and solo settings. To cut down on the noise, percussionists try to turn on the snares only when absolutely necessary. It may be wise for a composer to leave a bit of time before and after each snare drum entrance so that the snares can be turned on and off.

Although it is usually a drawback, a composer could use the sympathetic buzzing as an effect to enhance the sound of a wind, brass, or other percussion instrument.

(a)

(b) Figure 6.22

(a) snare drum, (b) field drum Photos courtesy of Pearl/ Adams Percussion

Concert Bass Drum and Pedal Bass Drum  Video 6.f— Tom- toms, Snare Drums, Bass Drums

There are two main types of bass drums: the concert bass drum and the pedal bass drum. A typical concert bass drum is very large and resonant and is played either upright (Figure 6.23a) or on its side. A typical pedal bass drum (sometimes called a kick drum) is smaller and much drier (usually muffled by towels or blankets inserted inside the drum); it is played with a mallet made of wood, plastic, or hard felt that is attached to a pedal (Figure 6.23b). Concert bass drums come in a variety of sizes from 25 to 40 inches (63– 102 cm) in diameter; pedal bass drums range from 16 to 22 inches (41– 56 cm). Large concert bass drums can also be played with a pedal, and pedal bass drums can be played with sticks or mallets.

A pedal bass drum is usually played with the foot facing the drum, but the drum can be placed behind the player so the pedal is operated by the heel of the foot. This is advantageous if there is no room for the bass drum under a mallet instrument or within a setup.

Double bass drum pedals are becoming more frequently used. This is a device that allows for both feet to play one bass drum. The feet cannot play quite as fast as the hands, but can play faster than one might think. Some percussionists can do this better than others. When both feet are involved, the percussionist needs to sit down;

standing is possible but difficult.

Tambourines, sleighbells, shakers, or other such instruments can be placed on a concert bass drum head to rattle when the head is struck.

(a)

(b) Figure 6.23

(a) concert bass drum, (b) pedal bass drum Photo of concert bass drum courtesy of Pearl/ Adams Percussion