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Timpani is an Italian plural, the singular of which is timpano. However, in English the term timpano is only widely in use by practitioners: several are more typically referred to collectively as kettledrums, timpani, temple drums, or timps. They are also often incorrectly termed timpanis. A musician who plays timpani is a timpanist.
By the 17th century, the timpani moved indoors for good and composers began to demand more from timpanists than ever before. The timpani was first introduced to the court orchestras and opera ensembles as well as in larger church works. [7] Due to this move indoors, a much more formalized way of playing and approaching the timpani was developed.
These companies no longer produce timpani, but their instruments are still widely used. American Drum Manufacturing Company; Boosey & Hawkes; Rogers Drum Company;
Timbal, tímpano and timpani all derive from the Latin tympănum, from the Greek týmpanon, meaning drum. (The Spanish word for drum, tambor , although similar, actually derives from Arabic tabl ). In Cuba and Latin America, timbales (timpani) were adapted into pailas , which is the name given to various Spanish metallic bowls and pans used as ...
Percussion: timpani, snare drum, bass drum, chimes, etc. Keyboard instruments: celesta, organ, piano; String instruments: harp, violins, violas, cellos, basses, frequently abbreviated to 'str', 'strs' or similar. If any soloists or a choir are called for, their parts are usually printed between the percussion/keyboards and the strings in the score.
A timpani concerto is piece of music written for timpani with orchestral or band accompaniment. It is usually in three parts or movements . The first timpani concertos were written in the Baroque and Classical periods of music.
This underlies the division of the orchestral percussion section into auxiliary percussion, tuned percussion and timpani, and is the reason percussive keyboard instruments such as the celesta are excluded from the percussion section. Origins, cultural significance or tradition, for example grouping instruments as Latin percussion or as African ...
The version for strings and timpani was first performed in a broadcast on 1 January 1939 by the Radio Orchestra conducted by the composer, as the only recorded example of the composer interpreting one of his own works. [3] He maintained a slow tempo professionally, with "unforced rubato", [3] creating a solemn, singing string sound.