Timp-Tastic (Davila)

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Lalo Davila

General Info

Subtitle: A collection of 10 fun timpani solos
Year of Publication: 2014
Publisher: Row-Loff
Series: Row-Loff Workshop Series
Price: $12.00


I am very excited about this timpani solo collection and I hope that you will find them fun to learn and exciting to perform. I would like to thank both Chris Crockarell and Chris Brooks for believing not only in me, but also in this project. I am lucky to have been a part of Row-Loff Productions from the very beginning. Both Chris Crockarell and Chris Brooks have a strong passion for percussion education and it is that passion that makes it a pleasure to be a part of the Row-Loff family. Timp-Tastic was so much fun to write. I would like to thank my students for their support in making this project a reality. A big thanks to the following students for playing through the solos: Matthew Curley, Jamie Haffner, Chris Lowry, Brian Wulf, Lindsay Rohskopf, Coltin Gibbs, Colin Chadwick, Sam Brown, Jason Chafatelli, Andrew Chunn and Daniel Del Moro. Thanks to Elliotte Wittstruck and Matt Jordan for their technical knowledge of audio and video recording. And finally to my beautiful wife, Julie, and our two wonderful daughters, Danielle and Marisa. I love you very much.

Table of Content

1. Big Ben
2. Dance of the Penguins
3. Nuttin’ But the Blues
4. Buckingham Palace
5. Asi Bailo Yo!
6. Of Kings And Men
7. Hop On, Hop Off
8. Soulful Strut!
9. Flamenco
10. Coconut Tea

Performance Notes

Solo #1 - Big Ben (grade II) The term “Maestoso” means majestically, in a stately fashion. Make sure to muffle during the quarter-note and half-note rests. (Recommended mallets - IP BT-3.)
Solo #2 - Dance of the Penguins (grade II) The quarter-note rests or longer should be muffled. Nothing rings over on the last bar. This solo is in complete contrast to Big Ben and Buckingham Palace in that it is to be played light-heartedly. In other words, not as much “pomp and circumstance”. (Recommended mallets - IP BT-4.)
Solo #3 - Nuttin’ But the Blues (grade III) The title kind of gives it away. JAZZ!! This being said, it is important to swing the eighth-notes. Most of this feel is already indicated in the music through written accents. Relax and have fun with this one. Whenever possible, please muffle eighth-note rests (especially half-note rests and longer). Even though this may not appear as a chop-type piece, the chop portion of this solo is inherit in the interpretation of style and feel. (Recommended mallets - IP BT-4.)
Solo #4 - Buckingham Palace (grade III) The performer’s goal should be to allow the audience to experience the introduction of Royalty. As for the dry, short articulations, the performer can choose to either leave the mallets against the middle of the drum head (dead stroke) after striking to create a very dry sound, or they can choose to use a regular stroke in the middle of the drum. (Recommended mallets - IP BT-3.)
Solo #5 - Asi Bailo Yo! (grade III) The groove here (especially in the accompaniment) is in a style called Reggaeton. Wikipedia defines Reggaeton: as a blend of Jamaican Trinidadian soca with those of Latin America, such as salsa, bomba, Latin hip-hop, and electronica. Even though the dynamic may state forte, it is important not to play the accented notes very loud. In fact, it is important to emphasize the accented so as to give it a groove (dance-like) feel. Notice that there are not a lot of rests in this solo. This being said, please muffle quarter-note rests and longer. Keep the mood/feel fun as if you are the source for a dance groove. (Recommended mallets - IP BT-5.)
Solo #6 - Of Kings And Men (grade III+) Picture this: Ancient Rome, a time of Kings and Rulers. Entertainment was an important part of daily life. The types of entertainment included: Circuses, chariot races, wrestling, dancing, etc.. Wikipedia states: “Some Roman music was distinguished for having a steady beat through the use of drums and the percussive effects of clapping and stamping”. The timpani played a huge role during this era. Of Kings And Men calls for the performer to put the audience in such an arena. Letter D should resemble the sound of timpani with an echoing effect through the mountains. Muffle quarter-note rests, as well as where indicated in the music. (Recommended mallets - IP BT-3.)
Solo #7 - Hop On, Hop Off (grade IV) A fun solo utilizing ostinato accompaniment in one hand while the other executes the melody. Quarter-note rests should be muffled. As in Buckingham Palace, dead strokes should be played in the middle of the timpani either by leaving the mallet head on the drum (which I prefer in this solo) or by lifting the stroke (regular stroke except in the middle of the timpani). At letter E, make sure that the melody is more pronounced than the ostinato figure. The first two bars at letter H are for effect (the actual shouting of “Hop On, Hop Off”). Nothing should ring over after your last note. (Recommended mallets - IP BT-5.)
Solo #8 - Soulful Strut (grade IV) This solo is composed in a funk-style. Whenever there are sixteenth notes that are combined with accents, keep the unaccented notes at a lower level (volume-wise) so as to maintain the “funk”. Muffle quarter-note rests and longer. (Recommended mallets - IP BT-5.)
Solo #9 - Flamenco (grade IV) The introduction (bars 1 - 8) begins as a slow introduction to the actual Flamenco groove (solo). Allow one bar of the accompaniment track to go by before entering in bar 9. Detailed attention should be given to measures where there are continuous 16th notes with isolated accents as they represent Flamenco dancers and their syncopated stomping figures. There are hardly any rests in this solo, however, quarter-note and half-note rests should be muffled. (Recommended mallets - IP BT-5.)
Solo #10 - Coconut Tea (grade IV+) I have to admit, I had a good time writing this solo (actually all of them, but this one in particular). This solo has some Caribbean flavor to it as it contains several syncopated figures throughout. Do not worry about trying to muffle at letter C since it is here where you will put one mallet down to pick up a medium�size shaker. You will also need a foot cowbell for these bars. Place the foot cowbell in a location where it will not interfere with your performance (perhaps in between the timpani). There is little to no muffling required in this solo with the exception of the quarter-note rest before letter H. Try and silently cut off the ringing of all drums at the end of the last measure. (Recommended mallets - IP BT-5 or BT-7.)

Recent Performance

Dance of the Penguins

Additional Resources

Row-Loff Workshop Series

Row-Loff Workshop Series

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Snared By Dan Moore
Multiplicity By Edward Freytag
The Cajón Companion By Tony Artimisi
Rhythmology II for Keyboards and Timpani By John R. Hearnes & David England