Editing Timpani (section)

=== Extended techniques ===
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It is typical for only one timpani to be struck at a time, but occasionally composers will ask for two notes. This is called a [[double stop]], a term borrowed from the [[string instrument]] vocabulary. [[Ludwig van Beethoven]] uses this effect in the slow third movement of his [[Symphony No. 9 (Beethoven)|Ninth Symphony]], as do [[Johannes Brahms]] in the second movement of his [[A German Requiem (Brahms)|German Requiem]] and [[Aaron Copland]] in [[El Salón México]]. Some modern composers occasionally require more than two notes. In this case, a timpanist can hold two sticks in one hand much like a [[marimba|marimbist]], or more than one timpanist can be employed. In his Overture to ''[[Benvenuto Cellini (opera)|Benvenuto Cellini]]'', for example, [[Hector Berlioz]] realizes fully voiced chords from the timpani by requiring three timpanists and assigning one drum to each. He goes as far as ten timpanists playing three- and four-part chords on sixteen drums in his ''[[Requiem (Berlioz)|Requiem]]'', although with the introduction of pedal tuning, this number can be reduced.

Modern composers will often specify the beating spot to alter the sound of the drum. When the timpani are struck directly in the center, they have a sound that is almost completely devoid of tone and resonance. [[George Gershwin]] uses this effect in ''[[An American in Paris]]''. Struck close to the edge, timpani produce a very thin, hollow sound. This effect is used by composers such as Bartók, Bernstein, and Kodály.

A variation of this is to strike the head while two fingers of one hand lightly press and release spots near the center. The head will then vibrate at a [[harmonic]] much like the similar effect on a string instrument.

Resonance can cause timpani not in use to vibrate, causing a quieter sound to be produced. Timpanists must normally avoid this effect, called [[sympathetic resonance]], but composers have exploited it in solo pieces such as [[Elliott Carter]]'s ''[[Eight Pieces for Four Timpani]]''. Resonance is reduced by damping or muting the drums, and in some cases composers will specify that timpani be played ''con sordino'' (with mute) or ''coperti'' (covered), both of which indicate that mutes – typically small pieces of felt or leather – should be placed on the head.

Composers will sometimes specify that the timpani should be struck with implements other than timpani sticks. It is common in timpani etudes and solos for timpanists to play with their hands or fingers. [[Philip Glass]]'s ''Concerto Fantasy'' utilizes this technique during a timpani cadenza. Also, [[Michael Daugherty]]'s ''Raise The Roof'' calls for this technique to be used for a certain passage. [[Leonard Bernstein]] calls for [[maraca]]s on timpani in his Symphony No. 1 ''Jeremiah'' and in his ''[[Symphonic Dances from West Side Story]]'' suite. [[Edward Elgar]] attempts to use the timpani to imitate the engine of an ocean liner in his ''[[Enigma Variations]]'' by requesting the timpanist play a soft roll with [[snare drum]] sticks. However, snare drum sticks tend to produce too loud a sound, and since this work's premiere, the passage has been performed by striking with coins. [[Benjamin Britten]] asks for the timpanist to use drumsticks in his ''[[War Requiem]]'' to evoke the sound of a field drum.

[[Robert W. Smith (musician)|Robert W. Smith]]'s ''Songs of Sailor and Sea'' calls for a "whale sound" on the timpani. This is achieved by moistening the thumb and rubbing it from the edge to the center of the head. Among other techniques used primarily in solo work, such as John Beck's ''Sonata for Timpani'', is striking the bowls. Timpanists tend to be reluctant to strike the bowls at loud levels or with hard sticks since copper can be dented easily due to its soft nature.

On some occasions a composer may ask for a metal object, commonly an upside-down [[cymbal]], to be placed upon the head and then struck or rolled while executing a glissando on the drum. [[Joseph Schwantner]] uses this technique in ''From A Dark Millennium''. [[Carl Orff]] asks for cymbals resting on the head while the drum is struck in his later works. Additionally, [[Michael Daugherty]] utilizes this technique in his concerto ''Raise The Roof''. In his piece ''[[From me flows what you call Time]]'', [[Tōru Takemitsu]] calls for [[Standing bell|Japanese temple bowls]] to be placed on timpani.<ref>{{Cite web|title=From me flows what you call Time|url=https://en.schott-music.com/shop/from-me-flows-what-you-call-time-no156292.html|access-date=2 January 2021|website=englisch|language=en}}</ref>