Online Timpani Studio

Beethoven: Symphony No. 9

Opening

Important Considerations:

Rhythm

Be sure to practice the opening bars without worrying about the roll. Play the first two notes over and over again until you are completely confident with this rhythm. Then add the roll later. This roll should have a small crescendo that leads to the end of bar 17 - try to tie your roll to that last 32nd note. This will add a great deal of excitement and energy to this excerpt.

The above example illustrates how I would generally phrase the opening of Beethoven 9. The overall style should be very majestic and loud. Pay special attention to all of the differences in dynamics. The change from Forte to Piano 4 bars before letter 'A' can be handled two ways: either muffle the drum right before the downbeat (marked piano) or have a second 'A' tuned on the 32" drum. Play the rhythm on the 29" drum and the soft downbeat on the 32" drum (muffle the 29" drum before the downbeat).

End of First Movement

Again, the rhythm here must be steady and exact. Be careful not to rush when making your crescendo. Think of this excerpt in "4."

Dynamics - be sure to make an audible difference between the Forte and piu Forte measures. Of course, the Fortissimo 32nd notes at Rehearsal 'S' should be quite loud and even. Generally, most players put a crescendo in on the roll 8 measures after 'S'.

Second Movement

Always count on this excerpt to be on most audition lists. The downbeat almost always is accented in this movement (dotted-quarter to eighth and quarter note motive). The most popular spot in this excerpt is from letter 'F' to letter 'H'. Dynamics must be carefully gauged AND there should be a noticeable difference between the piu Forte 2 before 'G' and the Fortissimo section at letter 'G'. Many players think of the word "Timpani" when they play through this section. Also remember that 6 bars before letter 'H' is ONLY Forte - don't get carried away.

Third Movement

The Slow movement might also be asked for as well - (B-flat high F double-stops). Very soft mallet for this exerpt and perfect intonation is crucial. Also, make sure the balance between the drums is more toward the B-flat. In other words, play more left hand so the B-flat is heard a little more than the F (if you're playing American set-up and you are right-handed).

Fourth Movement

Be sure to make a diminuendo after the first note of this excerpt is played. Crescendo back up right before the 8 bars rest. Since these 8 bars rest contain the double-bass recitative you will need to "time" this section. The 8 bar section normally takes about 16 seconds . . . then come back in on the 'D'.

Fourth Movement

The real "trick" in this section is going from the fast sixteenth notes into the slow, 3/4 section then back into the fast section again. I find it's best to think of some metric relationship between the two sections - the two beats to a bar in the fast section sort of equal the sixteenth note pulse in the slow section. Also, be sure to really attack the first group of septuplets (last 5 meas of the last movt), then diminuendo - and crescendo to the last four quarter notes.

Previous Online Lessons:

Brahms: Symphony No. 1

Mozart: Symphony No. 39

Beethoven: Symphony No. 8