Timpani Audition Intonation

In an audition situation with unknown instruments and acoustics, sometimes the mallet choice can make a large difference in the amount of partials the drums produce. Instead of reaching for the pair that you always use for that excerpt, be prepared to be flexible with your stick choices in order to control the partials in the spectra.

Compared to how we hear true harmonic pitch, i.e. the pitch that all other orchestral instruments produce, the perception of timpani pitch is based on harmonic pitch allusion. Timpani have only a few very weak, near-harmonic overtones in their overtone series. It is nothing close to what the members of  an audition committee are used to hearing with their instruments. The structure of this near-harmonic series changes from note to note, drum to drum, and mallet to mallet.  The most constant overtone in this series is a predominant quasi-perfect  5th, which is not always pure. Unfortunately this 5th can often overpower the principal tone and imply intonation problems if the heads is not tempered (balanced or cleared) well. Tempered heads can tame the unruly 5th and strengthen the principal tone. If the timpanist tempers intervals so that the various drums make use of the few near-harmonics available, e.g. the fifth or the tenth, the perceived pitch will sound like it is in-tune because the overtones in the various intervals will be more coincidental in nature. It may not conform to any predefined temperament system but it is pleasing to the ear. The human ear can be quite forgiving with respect to the actual frequencies of a sequence of pitches as long as their harmonics blend together well; this is why Equal Temperament is a viable compromise and why the stretch tuning of octaves as well as melodic Pythagorean tuning works.

With timpani, every sequence of pitches will create different inharmonicity problems so any predefined temperament system is not of any real value. Setting the tuning indicators/gauges to Equal Temperament is a always good benchmark, but the player should attempt to adjust the various intervals in the sequence (whether harmonic or melodic) so they blend well together making use of what near-harmonic overtones are available on the drums at that particular time.

It is no wonder why the most seasoned  timpanists say, “just use your ears.” Pitch is a fluid commodity at best and the pitch center often changes continuously in an ensemble situation.  At an audition, the player only has to blend well with his or herself, and not with an ensemble. This can be achieved by knowing intervals, both just and equal tempered, using a fork or gauges for a reference pitch, and by listening to the blend of the pitches produced. If the pitches do not blend together well, adjust accordingly. Exact pitch precision based on some arbitrary standard is not as important as pitch blend based on what is aesthetically pleasing to the ear. Due to the limited periodicity of timpani pitch, no member of an audition committee will  be able to ascertain if a pitch is a few cents sharp or flat from some predetermined standard, but they will be able to tell if the drums aren’t in-tune with themselves.  Needless to say, well-tempered heads are essential for good intonation.

For some strategies on how to practice timpani intonation, please visit the website of Jeremy Epp, Principal Timpanist, Detroit Symphony Orchestra, and read his article Why are we so out-of-tune?

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