Table of Contents Foundations Chapter 1: Strings and Air Columns › Chapter 2: Circular Vibrating Membranes › Chapter 3: Acoustic Properties of Timpani › Pitch and Setup Chapter 4: Pitch Perception › Chapter 5: Tempering a Mounted Head › Chapter 6: Mounting and Practical Setup › Articles and Resources Chapter 7: Articles and Observations › Timpani Bibliography › Timpanist’s Websites › Front Matter Dedication About this WEBook About the Author Acknowledgements Preface Back to Menu Chapter 1: Strings and Air Columns – “The Competition” Harmonic Motion Harmonic Series How “They” Vibrate Harmonic Partials Strings and Harmonics Frequency, Pitch and Color Chapter 1: Review Chapter 1: Sources Back to Menu Chapter 2: Circular Vibrating Membranes Inharmonic Motion Ratios: 2f vs 1.59f … Modes and Nodes Membrane Modes Lab 1 Chapter 2: Review Chapter 2: Sources Back to Menu Chapter 3: Studies on the Acoustic Properties of Timpani Timpani Sound Spectra Preferred Modes Air Loading Significant Studies Benade: Duff Rossing Et al. Fleisher & Fastl The Timpano Bowl Resonator or Radiator? The Bearing Edge Shape vs. Volume Bowl Volume The Vent-Hole Why Copper? Why Don’t All Timpani Sound the Same? Historical Influence The Evolution of Timpani Pitch Science & The Schalltrichter Half-Tan vs Vellum Cultural Catalysts for Change Scientific Catalysts for Change The 19th Century 20th Century and Beyond Review 3 Chapter 3: Sources Back to Menu Chapter 4: The Duplicity of Pitch Perception Time and Place Seebeck vs. Ohm The Missing Fundamental Virtual Pitch & Timpani: The Preferred Modes and Pitch Perception Chapter 4: Sources Back to Menu Chapter 5: Tempering a Mounted Timpani Head Tempering Prerequisites Addendum: Detailed Diagnostic Tests Tempering Routine Step No. 1: Centering the Head Step No. 2: Defining the Range Step No. 3: Base Tuning Step No. 4: Leveling the Head Step No. 5: Using a DrumDial™ Step No. 6: Fine Tuning with an Electronic Tuner Check Your Work Applying the Tempering Routine Pre-Rehearsal / Pre-Concert Finding the “Sweet Spot” Environmental Touch-Ups Mallet Strategy: Pitch vs Color Blend in Rehearsal and Performance Back to Menu Chapter 6: Mounting Mylar™ Heads Diagnosing Structural Problems Step-by-Step: Mounting New Mylar Timpani Heads Electronic Tuners Addendum: Supporting Pages Bowl-Rounder Rulon Tape General Tips Back to Menu Chapter 7: Articles, Observations and Other Considerations Acoustical Foundations Timpani “Harmonicity” Timpani Inharmonicity Octave Harmonic Effect Pleading the Fifth Physics of the 4th Clearing, Playing, and Conditions The Duff Clearing Process A Practical Guide to Timpani Stroke, Tone, and Touch Stick Placement and Articulation Environmental Effects Style, Study, and Performance Application Emulating Period Performance Alfred Friese Timpani Studies Timpani Audition Intonation Back to Menu Timpani Bibliography Chapter 1: Sources Chapter 2: Sources Chapter 3: Sources Chapter 4: Sources Back to Menu Timpanist’s Websites Adrian Bending Jeremy Epp Wolfgang Gaisböck Jason Haaheim Precision Classic Timpani Guido Rückel Andrew Simco Dwight Thomas Nick Woud Back to Menu Share Print (Opens in new window) Print Share on WhatsApp (Opens in new window) WhatsApp Email a link to a friend (Opens in new window) Email Share on Reddit (Opens in new window) Reddit Tweet