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Eight Condensed Pieces for Four Timpani

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By Juan María Solare

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Percussion Solo, Timpani - Level 4 - Digital Download
Composed by Juan María Solare. Contemporary, Instructional, Latin, Standards. Individual part. 12 pages. Juan Maria Solare #3223009. Published by Juan Maria Solare (A0.596501).

Item Number: A0.596501

Eight Condensed Piecesfor Four Timpani


I - Intrada

II - Rustico

III - Recitativo

IV - Deciso

V - Vigoroso

VI -Riflessivo

VII - Cantabilebagualesco

VIII - Animoso


Suite of eight pieces for four timpani. In theory, one could perform themindividually. However, they are so short that I would highly recommend playingat least three of them.


Use a standard set of timpani: 81 cm / 74 cm / 66 cm / 58 cm.


Don't dissimulate the re-tuning (pedaling) between the pieces, rather celebrateit and make it sound as a short musical interlude (say, 15 seconds? Do you needmore?). In a recording, however, I wouldn't include those retunings.


Each piece is one minute long or slightly more. The complete duration ofthe cycle, including the retuning between movements, is therefore around 10minutes.


The title is clearly an allusion to Elliott Carter's pieces. By pure chance,my pieces were finished on 30th August (2017), exactly the same day of the date(but in 1966) on the manuscript of Saëta,the first of Carter's Eight Pieces.


Except for the third piece (Recitativo),which should be performed with the fingers (without mallets) and some short passagesin other pieces, this cycle doesn't call for "hardcore" extendedtechniques or instrument preparation. In this sense, it might be also adequate forstudents or orchestral competitions.


Juan María Solare, 31 August 2017



Compositiontechniques involved


The key to this cycle of pieces is the following table of motivic changes(the arrows mean "becomes in the next phrase":

a  → e

b  → f

c  → a

d  → g

e  → d

f  → h

g  → b

h  → c


At the beginning of each piece I wrote the table of motifs concretely usedin that piece. Notice that when a motif reappears it is usually transformed insome way - not just copy+paste.


Each piece has an ownmetric, metronome speed and number of phrases according to the following generalplan:


Piece I: 4/4, q=70, two phrases of 8 motifs

Piece II: 7/8, q=74, three phrases of 7 motifs

Piece III: 3/4, q=60, four phrases of 5 motifs

Piece IV: 5/4, q=100, five phrases of 4 motifs

Piece V: 4/4, q=80, five phrases of 4 motifs

Piece VI: 7/8, q=70, four phrases of 5 motifs

Piece VII: 5/8, q=105, three phrases of 7 motifs

Piece VIII: 3/4, q=54, two phrases of 8 motifs


This plan strives to achieve variety in the rhythmic feeling at variouslevels (including form segmentation), but doesn't try to be absolutely systematic,i.e. it doesn't include all possible kinds of metrics or a graduated scale ofmetronome speeds (in this sense, is not serially conceived).


Juan María Solare, 31 August 2017





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