Carmina Burana: O Fortuna - Timpani Moments
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- čas přidán 9. 09. 2024
- As requested by one of our followers, here is the mighty timpani moment from O Fortuna.
Get ready for 1:40... the key is to start with your left stick, and keep your right stick playing the top A on the high timp on the off-beats.
What other timpani moments would you like to see?
#TapThoseTimps
Website: www.lpo.org.uk
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As someone who has performed this with a full orchestra: this is way more brutal than it seems. the quarter-note section at 1:40 just makes your arms want to fall off.
Not true. Only if you're an amateur or a bad percussionist 🙄
@@ArturoEscorza me
I had to sight read this in high school, and the quarter note section honestly made me stop entirely for 2 reasons; 1. That's a neat pattern that I want to get right, and 2. I didn't think anyone actually composed music for timpani up that high.
@@ArturoEscorza lmao the singer is gonna come tell us how easy timpani is
@@ArturoEscorza unnecessary
Inspiring! Now I don’t know what I want to do more: learn to play the timpani or compose a timpani concerto!
Do both! :-) Once you’ve learnt timps, you’ll have a great understanding of what’s possible.
For the love of Christ, if you write a timpani concerto, put the thematic development IN THE TIMPANI PART, not in the accompaniment like 95% of the others out there! All that does is relegate the timpani part to a glorified ostinato part in front of the orchestra instead of in the back.
@@tomshriver8647 Way ahead of you! I’ve been dissatisfied with so many concertos where the soloist is invisible or just marginally featured.
If you want to go even crazier, you can use tenor timpani: These are little timpani that go up to one octave above middle C. William Kraft used them in his Timpani Concerto no2.
Estan fuera de rango !!! Necesita un timbal piccolo 20” un 23” no da un la ni de milagro 😖
The vibration of the timpani on the D roll is hilariously cute
1:41 let’s be honest we were waiting for this part.
I’m in a school concert band and got to play this instrument for our spring concert and since first playing it in mid February of 2023 I have been in love with it
I keep learning new reasons why I find this such a compelling movement. I have quite literally spent nearly my entire life studying this piece of music ... since the nursery.
Thank you for creating this. It is absolutely fantastic. My 4th-6th graders really enjoyed the Verdi snippet created a few months ago. They will also have the wonderful opportunity to learn about new meters, as shown in the notation, along with the awesome dynamics! 🙌🏼
Back in 1980s I was on cymbals playing this at The Royal Albert Hall in London with the Hertfordshire County Youth Orchestra and a 1000 piece choir. In the Very last movement (which is the same as this one), on the Very last note, I got the most wicked airlock. It just went FWUMP. To cover myself, I faced the cymbals out towards the audience and loudly thought "There you go, you CAN hear it, can't you".....
As I’ve always been told, people hear with their eyes. That was exactly the right thing to do.
That is hilarious lmao
This is amazing! This epic piece is truly an epic timpani moment! As a percussionist would love to play this one day. You should really make a game on tapping the timpani with these epic timpani moments!
LPO, thank you for this. I appreciate music even though I cannot compose, sing or play. Since I have been finding these videos on CZcams where the music is played as the score scrolls, I have to an even greater love for music. I was particularly impressed with this segment as this is the first time I have seen it done for percussion. Again, thanks. And this a great introductory piece to see!
played this in college. SUPER awesome. (I also played the anvil part on Eggo Sum Abbas, which required me to "stand up," quietly, during the solo, (nerve-wracking enough,) and PICK UP A HAMMER. (several of the bass players (who could not even be SEEN by the audience due to space constraints (a low-hanging opera box was blocking the view of them by nearly all in the audience,) ahem, they struggled not to laugh (because how often do you play an anvil in an orchestra concert, I mean really...)
and after the two BANG BANG BANG BANG BANG BANG BANG BANG's, I THEN had to "quietly" and quickly put down the hammer without making sound and grab my timp mallet and look up quick enough to catch the cue for the note at "WAFNA!" a wee bit stressful. super fun.
Good story! I have something that would be off-topic under most circumstances, but it follows your story nicely. One summer, ages ago when I was in the Wisconsin School Music Association's Junior session of their Summer Music Clinic, I was in the #1 band and one tune we played was "John Henry", based on the folk song. In that tune, I played anvil to symbolize John Henry's mighty hammer blows (google the story if you don't know it). We played our concert in an ancient cattle-exhibition hall at the University of Wisconsin, which turned out to be a fortunate thing. The equipment crew somehow delivered all the percussion instruments in our total kit except for the anvil, which they probably had not even realized was something we needed and not some extraneous item that just happened to be with everything else they had been told to transport. Our whole percussion section panicked when there was no anvil or hammer to be found, and we told the conductor. The conductor was a quick-thinking man and he had an idea. The percussion section was right against the edge of the show floor of the exhibition hall, and with bleachers around the entire periphery of the show floor, the steel railing at the base of the bleachers was right there next to the percussion section. The conductor thought that railing might be a passable substitute for an anvil, if only we could find something similar to a hammer to strike it with. The conductor told me to follow him, and I followed him to a parking lot where he opened up the trunk of his car and took out a lug wrench that was heavy and almost two feet long. We went back, tried striking that steel railing with the lug wrench, and by gosh the sound was awesome. Problem solved. After the concert was over, I learned that I had been the star of the show because the whole audience just loved it when that skinny kid in the percussion section was slamming that big lug wrench against the railing while everything else about the performance seemed so standard. I'm sure a lot of audience members realized it was a very unique thing to hammer on something that's literally a part of the stage, rather than to bring some special item for that purpose.
I will be singing this in June! Great composition
I love playing on timpani, you can take out all your anger and frustrations out on them
great sound Simon Carrington!
That is a fun part to play ☺️
Probably a hard part to play too!
Why is the pianissimo 120bpm section written in 3/2?
It clearly sounds like 4/4 to me (the timpani part is even written as if it's in 4/4, and the choir part also doesn't sound like 3/2), and not at all like 3/2. Only the final Fortissimo bars sound like 3/2 IMO.
Also, the Forte section near the end has every timpani hit written as an accent, even though there are noticeable hits accented more than the others. What's up with that?
Anyway, a great piece of music, and a fun video as usual. Great work LPO, keep 'em coming!
It’s interesting isn’t it! :-) In terms of the accents - the bass drum sometimes joins in on the fifth and first crotchets, which makes it sound like some notes are more accented than others.
@@londonphilharmonicorchestra
Ah, that makes sense (re: the bass drum)!
I was thinking the exact same thing as I watched this!
@@JonathanGilmer
Right? Makes no sense
@@FreakieFan If you counted each bar as 1 trip let, 2 triplet, etc. It would make sense as a 4/4 pattern or you could also think of it as 6/4 or 3/4. The composer probably wanted to emphasize the shorter 2 bar phrase “123, 223” that the choir and many other parts follow. And if counted that way it could also be read in 6/8 (1 la li 2 la li) but would give it a lilt and would be kinda awkward. I would think he had a specific reason for writing in 3/2... definitely interesting to think about, I’m sure looking at the score would give some insight...a great piece of music nonetheless.
How interesting! Who tried to do this?
The request is the 4th movement of the Symphony Fantasie (Berlioz).
The sword dance of Ghaine (Khachaturian).
Kobiki Uta for orchestra composed by Kiyoshige Koyama.
Thanks, playing this in November and looking forward to it🎶
i used to play this part so many time in my musical period ^^ fun to play
sabedoria conquistada com louvor!!!beijo emiliana do manejo.
Thank You So Much!
And the beat go on and on.
best video for studying I seen ever
Wonderful video! Thanks!
Sensacional ! Show !
saludo maestro muy bueno tu material no tienes el de la gran pascua rusa y la segunda sinfonia de tchaikovsky para mi niño
Why don't you do a timpani moment for the beginning of Christmas oratorio by Bach?
Oooh - that’s an excellent suggestion!
Good music
amazing
Symphonic metamorphosis!!!
Epic part !
Why in 3/2 meter? What was wrong with 6/4?
Muito bom, excelente 😊
o timpani
why am i watching this video??😵💫
Hey LPO what don't you do a video about Timpani Moments playing Walton's Symphony no 1? Just an idea. Maybe I could offer some ideas for Timpani Moments (if you want [P.D. Great work Simon Carrington])
Thanks Samuel. Great idea - we made a video about Walton 1 a few years ago, czcams.com/video/MtCxIxpgOME/video.html - but it could do with a timpani video, as it’s a great part. Yes please, send any requests or suggestions our way. :-)
Official request: Agnus Dei from Haydn's "Missa in tempore belli" 😊
bello
👍✌
Sis, what application do you use?... it's as good as this, like playing Timpani Asli. please tell sis the name of the application 🙏.
I want to play this
Hello, I'm Johnny Knoxville. Welcome to Jackass!
Thomas Linda Clark Steven Moore Donna
Buenas maestro no tendra el video de la marcha eslava
At 1:40 it sounds like the tempo is ♩ = 280
What the teacher told: 0:30. What's on the test: 1:40
🇧🇷👍
Why are there accents on _every_ note? Kind of defeats the purpose of _accenting_ something, just play louder in general..
Orff might have intended for the timpani to play louder than the orchestra in the quieter passages, or maybe to play with added emphasis on what exactly he wanted the timpanist to articulate? Just my two cents, I don't really know either.
A common misconception is that an accent simply means to play louder. That’s more of a byproduct of the actual intent, which is to add more front to the note. In this case, I’d use more velocity, with my wrist being the main muscle group behind the stroke. Mallet choice is certainly another factor, I’d go with something moderately-hard.
@@neonbeige1289 thanks for the clarification!
SALSA COOKIES! WINDMILL COOKIES!
Can you do the last movement of mahler 7??
An average II drum cant go up to a D, so you must either have 5 drums or you're using smaller drums than an average set
percussionists have breath marks?
highpassed? where's the v high 37Hz peak?
Como puedo conseguir las partituras en PDF, Por favor🙏
Not from IMSLP. Orff died in 1982, so his music will not come into Public Domain before 2052. Many scores, including Carmina Burana are published by Schott.
Doesn't O Fortuna start in 3/1 time, not 6/2?
... Schade! Normalerweise stehen in Deutschland die Pauken anders herum. Die kleinste (A-Pauke) steht links und die größte (D-Pauke) steht eigentlich rechts.
why are there breath marks on a percussion instrument?
sorry if this is a dumb question, i play clarinet.
I thought this was in 3/1
Timpani sheet music?
isn't it wrong to write "trill"?
Historically, timpani rolls were notated with trills rather than the multi-stroke rolls notion of today
Oof!
This is like a Death Note Theme really?
The reproduction's speed is not constant. Horrible.
@@tommccanna251 I don't think he knows about breath marks...
boyyyyyy