marchlike rhythm. In Sergei Rachmaninovs Piano Concerto No.

2, the mu-
sical line, nine measures after rehearsal 10, calls for sixteen measures of
marcato strokes. Marked Maestoso. (Alla marcia.), this part requires the
timpanist to push the music forward in a marchlike manner that must be
articulate and heavy. In conclusion, whether dened as nonlegato, portato,
or marcato, these terms intellectually signify the sound and articulation of
a particular note. Ultimately, timpanists are called to use the technical re-
sources at their disposal and their personal skill to create the articulation
that is needed for the passage being played. It is at this point that these
terms become intellectual abstractions signifying little more than a kind of
sound. See the companion Web site for a marked timpani part.
The emotional effect of legato, staccato, and marcato has not lost it-
self on composers or performers (Keller 1965, 9899). Some of the most
touching and tender music has been written in legato fashion. For the tim-
panist, much of the third movement of Beethovens Symphony No. 9 should
be played very softly (at piano) and tenderly with long legato strokes
strokes that allow the timpani to ring full and resonant. An examination of
the score will reveal that many phrases in the strings, woodwinds, and
brass are slurredplayed in a connected, legato fashion. The timpani, to
match the legato playing of the other instruments, must play in a similar
manner. Anything more articulate would ruin the feeling that Beethoven
wished to convey. On the other hand, Brahms was a master at using the
staccato note to add energy and strength to his music. In the last four mea-
sures of the Tragic Overture, Brahms writes four and one-half measures of
articulated, staccato notes, giving the music incredible strength. These
notes are followed by three quarter notes articulated with wedges, and
Brahms wants these notes to be played not only short, but also increasingly
heavier. The effect is to further intensify and strengthen the phrase as the
music moves inexorably toward harmonic resolution. Finally, using a mar-
cato stroke can effectively convey the martial feeling that accompanies
some music. See the companion Web site for a marked timpani part for
Brahmss Tragic Overture.
Another dimension of phrasing concerns accents. Accents may be dy-
namic, melodic, agogic, tonal, or metric. Dynamic accents are stressed
notes. The most common accented note is indicated by a carrot or, in the
nineteenth century, a tenuto mark over the note. Melodic accents are notes
that are stressed due to their position at the peak of an ascending line. No
extra energy is needed to stress these notes; the phrase naturally stresses
them. Melodic accents are relatively rare in the orchestral timpani reper-
toire; however, the opening line in Richard Strausss Burlesque provides a
suitable example (see example 2.5). The f in the third and fourth measures
represents the top of the phrase and these notes appear to be naturally ac-
cented. The notes leading up to and away from it do not have the stress of
the f. Agogic accents are notes whose greater length of tone calls the lis-
teners attention to them. In the Burlesque, for example, the length of the f
in measure 2 appears accented for another reason. Where there is a single
short note or a series of short notes followed by a longer one, the longer

42 Timpani Tone and the Interpretation of Baroque and Classical Music