SYMPHONY NO. 4Comment: All of Tchaikovsky's timpani parts are “timpanists? delights” and should be played with great ranges of dynamics. It is very necessary to project the sound even in pianissimo passages. 1 have included only Symphonies 4, 5 and 6 in this volume because the others are far less frequently played. ‘As with all of the music in this ond all the other wolumes in this sores, I suggest that the player liston 10 recordings of the works, following the parts as he listens.SYMPHONY NO. 4 IN F MINOR, Op. 36 First Movement Comment: Ths is one of the most dificult movements in the classical repertoie to execute primarily because “counting” can he neglected and the syncopated figures are often felt “on” the beat. Since the section from the Moderato con anima (measure 27) iin 9/8, I strongly recomend that the performer count in a compound three, ie. Lta ta 2 ta ta 3 ta ta, Note: The first two beats of measure 27 are silent; the melody begins on a syncopated third beat. Again Twill stress the word count. Bar 13 oF 2 before letter A It is very advisable to count the first 12 measures — even if you think that you can “feel” the entrance — because the sya: ‘opations begin on the second half of measure 11, (There is always that one time that you might “blank”, and a performer is usually judged by the last note that he plays.) Bar 15 or letter A. Listen for the trumpets’ leading sound in measure 14. Bars 46 & 47 emphasize the first sixteenth-note of these figures because it gives me a feeling of 3 instead of 9. Also it helps the winds and high strings conclude their beats (and bring out their lead- ing sound to each heat). Be careful not to enter two measures earlier (measure 4) since this is where the vioing similar figure. ter with & Bars 48-50 oF letter B ‘These cighthnote C's are cadences to groups of triplets executed by the winds and steings on the last beats of measures 47, 48 & 49. Bor 20 or letter C If perchance you have lost count, listen for a violins on the lst heat of measure 69. Bar 78 oF 4 after letter C If you examine the winds, brass and string bats parts, you will discover that they all execute the same figure as the timpani, ‘except that the last half of the first beat is tied to the frst note of the socond beat. This notation better demonstrates ‘the syncopation and probably it would have been better to hhave notated it this way in the timpani Bars 92-100 or letter D Maintain a compound 8 “feeling” since it can be very easy to fall into a 2-feeling trap; lean on each beat: [FTd dre e [eTE ore | Bars 101-108 or 3 before lett In order to fortify the syncopations in all the other sections of the orchestra, the last eighth-note in measure 101 (last beat) and each beat in measures 102 & 108 should he accentuated. Note: Although the prevailing key has been F minor, it changes enharmonically to B major in measure 131 so it gives ‘the timpanist three measures to check the tuning of F-sharp and B for the next entrance in meaaure 134. Bars 134-135 or 12 before letter G Bars 313-334 ot 7 after letter R Since the timpani has the sole bass line, 1 try to simulate a string bass sound and play with no attack ~ only sound! (Ltey {o “think” crescendo on each note.) It might be necessary to make @ slight rallertando on each entrance of the strings in ‘measures 147 & 148, 152 & 198, and 155 & 156, always re- verting to the original tempo of measures 144 & 145, 150 & 151, and 154 & 155. Please be very subtle about any deviations in tempat Bars 157 & 158 | pulse these tremotos and do not make them too important oF too loud in order to pace myself for the coming passages which will be quite fortissimo, Ber 159 or 4 after letter H ‘This measure can prove to be areal pitfall for players who take it too literally. Listen for the bass line and think “bowing” Bar 161 ‘This measure can be counted accurately if the note is played with one hand and the rests are dampened with the other band. Watch that you do not continue the pattern set up in ‘measure 160 and be eareful that you do play the syncopal in measures 16] & 163. Bar 168 or I before letter J ‘Save the crescendo until this measure, as notated.First Movement (continued) Bars 174.176 or 6 after leter J Listen for the horn figure in measure 173 and fit into that pattern, Bars 182-189 or 7 before letter K Be certain to count and play this asa syncopation. There is a danger here that it can be heard as on the beat. I cannot stress enough the counting procedure! Bare 254-255 & 264.265, If perchance the player loses count, listen for the trumpet fan- fare in measure 253. Bars 280 & 281 or 8 after letter Q T articulate the eighth-note on the last half ofthe frst beat of each of these measures because it provides a good foundation for the trumpet figur (Tu | and also because the timpani is the only instrument in the orchestra that has this notation Bar 284 or 12 after letter Q Wait for the pickup by the entire orchestra in measure 283 since there might be 2 musical tenuto on the sixteenth-note prior to this entrance, All the tremolos from measure 284 to 290 are tied. Bars 385-837 or letter T puise these tremalos. Bars 938-339 oF 4 after letter T Ditto as in messures 157 & 158. Remember: eyncopations must be anticipated and in this ease “leaned on”. Bare 340-352 or 6 after letter T ‘This passage requires a great deal of counting and a defi plan of sticking #0 that the sound is smooth and it “swings”. Much care should be exercised so that the listener still fecls the pulse and not too much attention is drawn to the syncopation = although this isthe crux of this entire section. (Actually the syncopated figure begins on the last beat of measure 339.) ‘The following is how I count and stick this passage starting on the third beat of measure 339: we 2 ase Rg Ueset aint caeaR aL in cnem CeMaeee: yeep peeaee ee RL RLRRERL RR L @ wiuwsee Las gout Lobe RER f R lu u2eusue 1e@ uzun dae UR R OLR lt wl ase 1 2 3a — , ——— ROLRL 1 2 Please take my word and count religiously. Note: In measure. 340 the timpani part does not coincide with the score (the last sixteenth-note is an A in the score). Thave always played the timpani part as written so it would sound foreign to me if were to stick to the “letter of the score”. ‘The example above does represent the notation found in the score Bars 355-362 or letter U All theie tremolos should be tied. Bars 398 & 399 ‘The tremolos should be tied to the first beat of the succeeding Bars 403-410 Listen for the melodic pick-up in the strings in measure 402, ‘and for @ possible rtard in that measure. Also, some conduc-First Movement (continued) tors (you notice I did not say “leaders” make a erescendo in each of the measures containing the tremolos. (I think that if Tehaikoveky had wanted the erescendos he would have so indicated.) Bar 418 to end Play this tremolo with as loose a grip as possible and save some strength for the end. Here is where Tuse alot of eelf-esistance (as explained in my book, Technique for the Virtuato Tympanist) Second Movement Note: After the end of the first movement the timpanist should feel relieved and exhausted, The remainder of this symphony should be a “breeze”. Bars 66.73 When making this entrance, listen for the sixteenth-note figure in measure 65 ‘Third Movement Bars 170-185 Please note that starting at Meno mosso in measure 139 the or chestra isin A major, so thatthe toning ofthe timpant to flat and flat should be secomplished soon after this sce tion starts Gf the drums have not been tuned a the beginning of the movement. The dat is enharmonic to the Csharpin A major Bar 193 Be careful: The sixteenth-note pick-up is not on the second beat of the measure as itis in measures 172, 176, 180 & 184, Fourth Movement Note: Do not take the notated durations too literally. For ex in the part is an eighth-note, there is no reason why it should not be es long a single note as possible since the rest of the orchestra isin a sustained mode, T know that some conductors ask for s short note at the beginning (especially feom the eymbals), but 1 would advise against asking questions, If the conductor wants shorter notes, he will tell you. Unless it is alsolutely necessary [never ask a conductor a question. After all, the music is there, ‘most certainly know more about our instrument than does the conductor. ample, although the first no Bars 185, See Note alive. Bara nee the bass drum ison the second beat of this measure rein- forcing the timpani, T would suggest that you play the C with vigor, and since it is @ syncopation it must be anticipated. Bar 8 Ditto as in measure 4, but now the G must be played with vigor and anticipated. Note that this measure is # half cadence, Comment: Alter performing these first eight measures you ‘might ask the question, “Do you use theee timpani?” No, I personally like the C on the 28” drum, so if [have a pedal on the 31” drum I use it to change from the F to G and back again. If you ate a player with a minimum amount of expe- rience: T would advise using three drums, except at Tempo I where there is no longer a tuning change from G to F. Then, I tune the F on the 31” drum and the C on the 28” drum.Fourth Movement (continued) Bary 30.87 of letter A. Arecapitulation of the frst eight measures. Bare 38-46 or 9 after letter A Use either three timpeni or the pedal 31” drum in this section, Bars 50.53 or 10 before letter B Lean othe heats Bar 59 oF 1 before letter B Play with great anticipation ~ almost sooner than you think. Bars 119-148 of letter D ‘These measures are an exact recapitulation of the first section. Enough ssid. 207 or 7 after Andante this section since the syncopations in the trun and woodwinds start directly after the second beat of measure 203. The basses and celli also enter on the second beat of measure 203, oF two measures before your entrance, s0 if perchance the count is lott, this isa good cue. Bara 223-244 or Tempo | Play this solo with plenty of presence. After all, you are con- tinwing where probably 6-9 basses stop playing. Make a gradual persistent.nsistent crescendo and discontinue the tremolo direetly before the strings enter with the sixteenth- note run in measure 245. Bars 252 & 256 It is not important to use thie sticking, but I have found in my ‘own experience that if Tstick this figure LR it “feele” better and wants to “go” (I suppose because 1 am playing the leading sound — the anticipated note — and the Tinishing note with, fone hend), This entire section depe ting, IF you will note, in measures 203 and 284 much of the orchestra has aftercheats while the high strings and woodwinds are on the eat, Since there is not much bite on the beats, these two Imeasures can pose a potential disaster if the count varies Bar 292 or I before end ‘There is invariably a ritard in this measure, but since the timpani has a tremolo, the ritard is immaterial.SYMPHONIE IV. L | TIMPANT P. TSCHAIKOWSRY, Op. 36. Andante sostenuto. ECA. | 2 10 | | f | odors £2 anna 19. ae : i 2 (Muta C in He Ain Fis.) Meno mosso. Moderato assai,quasi andante. E3 A 2 412 F_6 102 ‘vitard. G7 b ae change8 o & 7 (Timp. in K, Fis.) TIMPANI Ben sustenuto il tempo precedente. 134 we 139 G rey stringendo poco a poco erescendo a au) Pee) a fo - B Moderato con anima. a Crescent ————————— vl ne 181 L (uta Hin Co Fis in A) 4 5 = = ae : =Allegro con anima. ectif Pit mosso. Allegro vivo. at ane . aaa ah mee diCanzona. mec. Pik mosso. Te I. ser ob 169 riten. III, SCHERZO. PIZZICATO OSTINATO. In Des, As. Allegro. ‘Meno mosso. 46 A 32 B28 C M4 D 39 & 3 28 £ 9TIMPANI. 1G 3 1 ‘Schersb D.Cal segnd e pot ta. Coda ao f IV. FINALE. In 56,6. Allegro con fuoco. ef A tf arTIMPANI. Ge ae PAS er 1a (mon © Te ae Andante. (d:d we. 6) are geen I f Tempo I.