Percusize Me!: Baroque Timpani

Showing posts with label Baroque Timpani. Show all posts

Monday, 13 March 2017

Studio sessions: preparation and thousand more things.

On February 17th, 18th and 19th I was in Colmenarejo (Madrid) taking part in a very interesting project: recording, together with "Forma Antiqva", the music for "Poem of a Cell". "Winter&Winter" was in charge of the production, and the sessions took place at "Estudio Uno".

I got the parts sent to me two weeks in advance (something to be grateful for as, sometimes, there´s no other option than sight-reading). This way I knew I would be playing baroque timpani, glockenspiel, triangle, wind and opera gongs). Everything but the wind gong was already in my arsenal, so a quick visit to Thomann and, the next day, a beautiful 24" Wu Han joined the family.

Before any recording, I always check the instruments I´m going to use so they do not fail me: heads, noises, mechanisms... Instruments are my tools, so I must keep them in tip-top shape so they enter the studio in perfect working order. It is also interesting to bring in a few of those needed so I have options and colours (I only own one glockenspiel and one pair or baroque timpani, but I´m very well stocked when it comes to triangles and gongs, so I brought all of them...). For the same reason, I like bringing in many sticks and mallets.

The good thing about getting the parts early is that I can have a look at them in advance, the bad thing is that it´s new music, so no records available for reference... I don´t know which other instrument I´m playing with, how to phrase, the absolute or relative of dynamics, articulation, if I´m doubling parts or soloing... There´s a preparatory work that has to be done so, once the red light is on, everything is perfect and works from scratch: it´s not nice having to roll another take or wasting my colleagues time because of me not being prepared.

So, first things first... There´s a job that, sometimes, composers and engravers miss: numbering all bars (if there are many tacet bars and the conductor asks "let´s take from bar X", I can´t waste everybody else´s time while counting or adding because they are not engraved: if bars are numbered I can pinpoint where to start without wasting a single milisecond). On the next photo you can see how I numbered bars. Also, I used a green pencil to mark a quite hidden bar change which could pass unnoticed during sessions.

I also number cue bars so as to have information doubled and to minimize the chances of a mistake. You can see that on the second to last pentagram on the previous photo and on the next one.

The next photo shows a very common problem: engraving software writes with no logic. Although correct, that writing makes reading unconfortable. My preparation work includes modifying it to get a more easy to read part so there are no problems once I´m in the studio. There are many different ways to write the same thing, and I opt for the easiest so the chance of a mistake gets minimized. Because of this previous work, I save my colleague´s time and avoid extra takes.

Here´s another example. I also add an eye (that´s a personal thing :-D ) as a reminder that I have to keep playing after the line jump.

I also mark the beats to differentiate very similar patterns. The triplet in the line above and the eighth notes below could be mistaken du to the very similar writing. Dear engravers: time signatures do not bite, you can use them at the beginnig of each line without problem ;-) .

I also mark a clear mistake to discuss it with the musical director.

When all the parts are marked and clear so I can´t make any mistake, the next step in my preparation is clear: practice, practice, practice... In this case, although not particulary difficult, the glock part needed some attention:

With parts and instruments ready, there we go, Colmenar...

Once the sessions are rolling, everything goes ultra fast: two passes (at the most) and we are recording. Because of that, my radar has to be on during those previous run throughs so as to grab as much information as possible (pencil and eraser are my best friends). I write down cues from other instruments to secure a music I hear for the first time. This way I make no mistakes, and no takes will have to be repeated because of me. On the following photo you can see cues written down during long tacet periods.

It´s also time for writting down ritardandi, comas, correcting mistakes (see the previous photo where a 5/4 was changed to 4/4), choosing mallets/sticks, listening to what the other musicians are playing to match their phrasing, articulation, dynamics, intonation...

With regard to sticks/mallets, it´s a shame I have no photos but, when you go into the studio, it´s compulsory to bring a good arsenal so you can get as many colours and characters as posible and make both conductor and producer happy. But... No matter how many I bring in, the producer will always want to try all of them: I´ll star with a pair which he doesn´t like, we keep on trying untill we go full circle and get back to the original ones (he doesn´t know ;-) ) and... "Those are perfect!". I knew... :-D . Bring many sticks to sessions and use your best diplomacy and tact to deal with these kind of situations (and always remember: the boss is the boss. Do what you are asked to do).

During these run throughs I have to keep my ears wide open and listen to what the other musicians are playing so we deliver a coherent whole. Here you can see a very easy timpani part.

The producer told us those notes represented a menace coming from the underworld (with this information I can guess character, dynamics, sticks...). I discover I play them together with the double bass: I now know intonation has to be perfect (it has to be perfect anyway, but because we are playing the same pitches, it has to be "specially perfect"). Also, although we have the same writing (plain half notes), I was playing them legato and he was articulating them. I realize that, have a chat with the double bass player and we decide to play them separated (different articulation fro the same thing is a no no...). There was this discrepancy during the first run through, but everything was perfect from there on. You can see me talking to the cello and bass players trying to unify criteria.

On the following one, the cellist and I are clarifying an excerpt so my gong part fits where it should.

A good communication with the other musicians is crucial, and it has to be carried with the utmost respect. I must be ready to modify my playing for the benefit of the group: ego and stubbornness are completely useless: if there´s something people really appreciate in a musician (specially a studio one), that´s flexibility.

More examples showing the importance of reacting (fast!) to what I´m asked... Mi glock part states "sempre piano" (see photo above), but the conductor wants me to do some inflexions the other players are doing. I write down and play them:

When the producer hears them, he prefers to keep everything flat, as he thinks it´s a stratified, layered texture... He not only wants them piano, but pianissimo. So, in a very short period, I have played the same thing in three different ways. Flexibility is key in this kind of studio work: I have to be able to INMEDIATELY play something that is not on the part, to modify dynamics, articulation, phrasing..., or to add something NOW that was not even written ("David, get into the booth and improvise a pavana "alla Monteverdi", as it will suit this number". I almost spill the coffee I was drinking and, out of the blue, the red light is on and I have to play something that works and not waste my colleagues time: I have to play -whatever- and make it happen no matter how hard it is). I have to be ready to inmediately play what I´m asked.

So, the tape is rolling: I have to avoid any kind of noise (squeaking chairs, rolling sticks falling down, page turns, sliding papers, resonating instruments...). To avoid this last issue, I always have black towels at hand (they are discreet and don´t call for attention on stage), which I use to lay sticks on or to hang from the instrument (or cover it...). Total silence before and after playing, no speaking unless I´m asked... If I make a mistake, I have to say it so it doesn´t get to the final edition. Loads of patience and concentration for the many repetitions... My mobile phone has to be off: my attention has to be on what I´m playing, not on whatever is going on in my telephone. It must be switched off not only because a matter ot attention and respect: it can interfere with (in fact, it does interfere) the electronics in the studio. Concentration.

If I have to re-tune (unavoidable when using calf heads), I do it piano, respecting when the rest of the instruments do so (makes things easier, I don´t disturb, don´t make any noise, avoid tensions an keep the good vibe...). I always tweak intonation in between takes to make sure it´s perfect when I have to play: tuning fork at hand, soft stick, piano, no disturbing and perfect intonation. Done. Every happy and gay.

If the preparatory work is done, sessions will run smooth as silk.

If I have nothing to play, I prefer staying out of the booth to avoid noise and distractions. I never go too far so as to be available, just in case I´m needed. My favourite place to be is the control room because I can follow the proccess, I´m at hand and I like technology and recording, so...When in the control room, remember: there´s people working, so no noises, no distractions, no disturbing...

Everybody in the studio is working: let´s make their job easy. We have to say "please", be kind (sincerely), give them a hand, offer solutions and not problems, know when to ask for something and when not... If, once we are done setting up, the technicians are still bussy, why not helping them? Remember: if we are not only good musicians, but easy-going and polite, chances are that we will be booked again.

Microphones, techniques, preamps, outboard and all that stuff I like so much will, maybe, be detailed in the future ;-) .

I´d like to thank "Forma Antiqva" and Jamie Massieu (photographer) for some of the fantastic photos illustrating this article.

…et in Arcadia ego.

Friday, 4 March 2011

New things coming from old ones.

There´s nothing new under the sun and, whatever we think is something new, chances it has been invented and developed by someone else before we did are very possible. Today, I´d like to write about a percusive gadget that has deep roots into the past.

First is first, so let me introduce you the original concept:

Photo courtesy of Maciej Kazinsky

Have a look at the bottom of the bowl of this pair of baroque timpani.You can see a device shaped like a trumpet bell: it´s a "Schalltrichter" ("schall" means sound, and "trichter" means funnel).

This device was common in German timpani for a long period (between 1600 and 1800). Drums with this piece are very rare outside Germany, so we can think this constructive element is very characteristic from this country.

It was mentioned in old treatises: "Musicus autodidactos" (J.P. Eisel - 1738), "Die Pauken und Trommeln" (G. Fechner - 1862), and the older ones can be found in a pair of timpani kept at the Bayerische Nationalmuseum, dated in 1620.

Its function was to create a saussenden Nachklang (resonant reverberance ) by means of the funnel moving back and forth, enriching a sound that, otherwise, would be quite anodyne (Fechner dixit)*.

As time passed, the "Schalltrichter" fell in disuse.

You can see more photos and read a very interesting article in The Well-Tempered Timpani.

Don´t you thik its desing is very similar to those found on subwoofers and loud speakers?

Three years ago (I don´t know if they even know what a "Schalltrichter" is), a company started selling a gadget coming form that organologic tradition, a device which gives rise to many opinions among drummers: the "Kickport".

As you can see, it´s kind of a funnel which goes on the resonant head of the bass drum:

Acording to the manufacturer, it gives "more lows, more tone, better definition and more punch", apart from slightly dampening the resonant head. Does it work? Opinions vary: there´s people that, after trying it, they hear a huge improvement, and there´s people who hears nothing at all. As always, we can find confronted opinions: some think it´s very useful and its creators have hit the jackpot, while others think it´s a bluff coming from someone with a very cunning commercial vision.

The thing is that it seems to have had some sucess, and their creators have milked the idea: Why just the bass drum when the set includes more drums? As bold as brass, they extended the concept to toms and snare drum:

I haven´t tried it, so I cannot give my opinion. If I ever have the chance to try it, I´ll write about it trying to explain my thoughts on it.

The very interesting thing, and what made me write about this new toy, is the similarity I´ve found between the "Kickport" and "Schalltrichter" present in German timpani. We tend to think we are very modern and cool, but this idea has been working since 1600.

As I said at the beginning, there´s nothing new under the sun... Very new looking ideas are 400 years old. The eternal return hits again, and the "Schallrichter" gets reincarnated in the "Kickport".

* The information on the two paragraphs before the asterisk comes from an article by Ben Harms titled "The world of historical timpani", written for "Early Music America" for its summer 2008 edition.

…et in Arcadia ego.

Sunday, 3 October 2010

Baroque timpani restoration.

Despite some of you already know my timps and the restoration process they undertook, I have been asked several times how I did it, so I´ll write about it in this post.

This is the original state in which these instruments were before the restauration process:

As you can see, kettles were dented and almost black because of the dirt, heads had holes, metallic parts were matt, paint was scraped... It was more than a cosmetic issue: these timpani were in serious need of a restauration.

First thing we did was repairing the kettles. For this, heads, rims and hardware were taken off, leaving the kettles "naked" (observe the difference between covered parts and those exposed to the elements):

All dents and imperfections were hammered out with a rubber hammer and, once they were completely even, the cleaning process begun. For this, we used a de-rusting product applied with a very thin metal wool. Next photo shows one of the kettles half-way the process:

Once they were clean, a polishing product was applied with the help of a cotton wool attached to a drill. When finished, all traces of remaining cleaning products were taken off with water and soap. After this, a spray protecting lacquer was applied to enhance their shine and to protect them from scratches. Next photo shows a finished kettle and a still to clean one:

Next thing to be repaired were tunning keys and all golden hardware (we knew they were golden once they were clean!):

They were inmersed into a de-rusting solution for a whole day and then were polished. There was no need to replate them, as they are made of brass, which has a natural beautiful golden colour which was brought to life again with a meticulous polishing process:

Counterhoops were in the condition you can see below:

All paint remains were taken off with the help of a wire brush attached to a drill. We can see the result in the next photo:

Clean again, they were spray-painted in black, leaving a very nice smooth and glossy finish. Next photos show the final result:

Once all pieces were repaired, drums were re-assembled:

Original wooden hoops were in very bad condition (bended and even cracked), so a local blacksmith made an exact copy of the original ones, resulting in a pair of sturdy and durable hoops. On these hoops, a pair of "SuperKalfo" heads were tucked:

As a final touch, leather rings were added between the counterhoops and the tunning keys (red arrow in the lower photo). This avoids any metal-to-metal contact, resulting in a noise-free mechanism. It also facilitates turning the keys:

Before being repaired, these drums had retractable legs (very similar to those in violoncelli). This was not practical at all because was noisy and, secondary, was not beautiful. To correct this, a pair of "quadpod" stands were built, allowing the drums to freely resonate. For this, a small metal cilinder was drilled every 90º. In each of these holes, a segment of threaded rod was introduced and then welded in order to form a cross which could be the base for our "quadpods":

Two curtain poles measuring 2,5 metres were cut into eight parts, each of these parts being drilled in its centre. These rods were then mounted on each arm of the crosses. In order to avoid any extrange noise, piano felt was used to pad both sides of the rods. We also used adhesive felt to cover the part that was intended to stay in contact with the instrument:

These stands stay in position and fold thanks to their wing nut system:

Once the restoration process finished,this is the final result:

Apart from being a very beautiful pair of instruments, they sound very well.

In this audio archive, recorded live on March 23rd, 2007 at Teatro Jovellanos in Gijón, you can hear me playing these timps with the Gijón Symphony Orchestra conducted by Óliver Díaz. The work is Mozart´s "Requiem" ("Dies Irae"):

In this other archive, recorded at the Toledo Cathedral in May 2008 (and part of the CD "Corpus Christi en Toledo"), you can hear me playing these instruments with "Sphera Antiqva" and "Memoria de los Sentidos". The work is "¡Alarma, alarma, sentidos!", by Jaume Casellas (the timpani part was edited by me, as there´s no timpani in the original):

As a final detail, these timpani have a pair of custom made softbags, as well as a pair of flight cases:

…et in Arcadia ego.

Posts by themes

Percusize Me! en español.

Monday, 13 March 2017

Studio sessions: preparation and thousand more things.

Friday, 4 March 2011

New things coming from old ones.

Sunday, 3 October 2010

Baroque timpani restoration.