This article discusses the use of two timpanists in orchestral performances, highlighting the importance of matching the principal timpanist’s tone, stroke, sticking, and rhythmic placement to achieve a cohesive and expressive sound. It emphasizes the need for flexibility, adaptability, and visual communication, such as positioning and eye contact, to maintain rhythmic uniformity and musical unity. Matthew Strauss shares insights into techniques like mallet choice, stroke types, and stage setup, illustrating how these elements contribute to a powerful and synchronized performance, especially in excerpts from major works like Berlioz’s Symphonie Fantastique and Mahler’s symphonies.

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One of my responsibilities as the Associate Principal Timpanist of the Houston Symphony is to play all of the second timpani parts. I have had the privilege to perform many orchestral works that require at least two timpanists throughout my tenure with the orchestra. At PASIC50, the Principal Timpanist of the Houston Symphony, Leonardo Soto, and I will present my class onrepertoire that uses two timpanists.

A timpanist is usually the only member of that section. However, some composers have written pieces that require more than one timpanist. While performing these pieces, the second timpanist matches the principal timpanist’s color, character, and rhythmic placement. This requires a high level of flexibility, open-mindedness, and adaptability. Leonardo Soto and I will demonstrate excerpts from the following works:

• Berlioz, Symphonie Fantastique (Mvts IV and V)
• Holst, The Planets (Jupiter and Uranus)
• Mahler, Symphony No. 2 (Mvts I and V)
• Mahler, Symphony No. 10, Deryck Cooke Version (Mvt IV)
• Nielsen, Symphony No. 4 (The Inextinguishable)
• Orff, Carmina Burana, Mvt 7

Here are some considerations when performing as Second Timpanist:

MALLET CHOICES
Successful timpanists eventually find their voice through thoughtful exploration and diligent experimentation. One of the main ingredients of one’s sound as a timpanist is mallet choice. While the mallets used by a timpanist are often chosen due to that player’s individual technique and unique sound concept, second timpanists should be willing to use a similar mallet as their colleagues, regardless of their own background. 

STROKE TYPE
The timpani community has various schools of thought on producing a sound when striking a drum. Multiple factors contribute to a timpanist’s stroke type, including schooling, acoustics, instrument brand, drumhead material, composer, and orchestra size. Effective second timpanists can alter their stroke type to match their colleagues’ sound and character.

STICKINGS
Similar to a violinist’s bowings, a timpanist’s stickings will directly impact the feel and phrasing of the music. Orchestral violinists must play their parts with the same bowing as the concertmaster to achieve a homogenous sound throughout the section. Equivalently, the second timpanist should use the same sticking choices as the principal timpanist in specific passages when playing in rhythmic unison. This concept will be demonstrated during our class when we play the ending of Berlioz’s Symphonie Fantastique. In this particular excerpt, we use cross-sticking to maintain a linear flow to the music.

VISUAL COMMUNICATION
Another responsibility of the second timpanist is to maintain a high level of rhythmic placement with the principal timpanist. When possible, the second timpanit’s drums should be set up half a foot further back on the stage to gain added visual contact with the principal. It is (usually) best to watch the conductor while catching the other timpanist’s motions through one’s peripheral vision. Other times, the second timpanist should look directly at the principal to increase the chances of rhythmic uniformity.

The ending of Gustav Mahler’s 3rd Symphony provides one of the best examples of direct unison playing between the timpanists. The principal should watch the conductor while the second timpanist watches the principal. Mr. Soto plays with a German setup in the Houston Symphony, while I use the American setup. The mixture of the two setups creates an advantageous circumstance where our low drums are near one another. Concert attendees might catch us exchanging a passing smile after landing on a unison pitch on both of our low drums!

CONCLUSION
An excellent timpanist contributes a strong pulse, an enhanced pitch center, and an extensive palette of colors while increasing the dramatic effect of the music. Sometimes extremes are required. For these moments, a committed timpanist is well equipped to provide a wide range of sounds, ranging from a barely audible pedal tone to a shocking interjection of a thunderous blast. Notable composers have doubled down on these qualities originating from the timpani section, because sometimes two is better than one!