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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 ...
The American Drum Manufacturing Company was a family-owned timpani manufacturer based in Denver, Colorado. Former Denver Symphony Orchestra timpanist Walter Light, who built a custom set of drums for himself, founded the company in 1950 when his colleagues began asking him to build timpani for them. [1] The company was voluntarily dissolved in ...
The drumhead division was headed by John Gyuka, a Romanian-born immigrant who joined the company in 1906 and remained there through its acquisition by C. G. Conn. [39] [40] He was particularly noted for his timpani heads, and the premier line of drumheads that used his process were stamped "UKA" (the last few letters of his name).
Timpani (/ ˈ t ɪ m p ə n i /; [2] Italian pronunciation:) or kettledrums (also informally called timps) [2] are musical instruments in the percussion family.A type of drum categorised as a hemispherical drum, they consist of a membrane called a head stretched over a large bowl traditionally made of copper.
Concerto for Six Timpani and Orchestra (1790s) [1] Christoph Graupner. Symphony for 2 horns, timpani and strings; Werner Thärichen. Timpani Concerto Op. 34 (1954) William Kraft. Concerto No. 1 for Timpani and Orchestra (1984) [2] Concerto No. 2 for Timpani and Orchestra ("The Grand Encounter") (2005) Gordon Jacob. Concerto for Timpani & Band ...
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English composer Michael Tippett used a total of 38 rototoms— tuned chromatically, spanning across three octaves— in his last large-scale orchestral work, The Rose Lake (1993), based on a lake he spotted suddenly transforming from light green to translucent pink while on holiday in Senegal. [5]
A cadenza, for both timpani, opens the final movement. Occasionally it is set aside as a separate section of the concerto, but on most recordings, it is featured as part of the third movement. During the cadenza, both timpani engage in exchanges, whose character range from almost inaudible to deafeningly loud.