63-470: Seasons Change may refer to: Film and television [ edit ] Seasons Change (film) , a 2006 Thai romantic comedy "Seasons Change", a 2008 episode of Property Virgins Music [ edit ] Albums [ edit ] Seasons Change (Lee Konitz and Karl Berger album) , 1979 Seasons Change (Scotty McCreery album) , 2018 Seasons Change , by Ray Boltz , 1992 Seasons Change ,
126-542: A symphony for eight timpani and orchestra, which requires the solo timpanist to play eight drums simultaneously. Rough contemporaries Georg Druschetzky and Johann Melchior Molter also wrote pieces for timpani and orchestra. Throughout the 19th century and much of the 20th, there were few new timpani concertos. In 1983, William Kraft , principal timpanist of the Los Angeles Philharmonic , composed his Concerto for Timpani and Orchestra , which won second prize in
189-454: A "warmer" timbre . Timpani heads are determined based on the size of the head, not the bowl. For example, a 23-inch (58 cm) drum may require a 25-inch (64 cm) head. This 2-inch (5 cm) size difference has been standardized by most timpani manufacturers since 1978. Timpani are typically struck with a special type of drum stick called a timpani stick or timpani mallet . Timpani sticks are used in pairs. They have two components:
252-415: A hand-operated fine-tuner, which allows the timpanist to make minute pitch adjustments. The pedal is on either the left or right side of the drum depending on the direction of the setup. Most school bands and orchestras below a university level use less expensive, more durable timpani with copper, fiberglass, or aluminum bowls. The mechanical parts of these instruments are almost completely contained within
315-780: A mixtape by Poolside , 2010 Songs [ edit ] "Seasons Change" (song) , by Exposé, 1987 "Seasons Change", by Anastacia from Anastacia , 2004 "Seasons Change", by Corinne Bailey Rae from Corinne Bailey Rae , 2006 "Season's Change", by Jagged Edge from Jagged Edge , 2006 "Seasons Change", by Michael Martin Murphey from Swans Against the Sun , 1976 "Seasons Change", by Quasimoto from Yessir Whatever , 2013 See also [ edit ] Seasons of Change – The Complete Recordings 1970–1974 , an album by Fraternity, 2021 Season of Changes , an album by Brian Blade & The Fellowship Band, 2008 Topics referred to by
378-438: A pedal-operated version of this tuning mechanism in the early 21st century. Like most drumheads , timpani heads can be made from two materials: animal skin (typically calfskin or goatskin ) or plastic (typically PET film ). Plastic heads are durable, weather-resistant, and relatively inexpensive. Thus, they are more commonly used than skin heads. However, many professional timpanists prefer skin heads because they produce
441-639: A performance is subjective and depends on the timpanist's preference and occasionally the wishes of the conductor. Thus, most timpanists own a great number of sticks. The weight of the stick, size and latent surface area of the head, materials used for the shaft, core, and wrap, and method used to wrap the head all contribute to the timbre the stick produces. In the early 20th century and before, sticks were often made with whalebone shafts, wooden cores, and sponge wraps. Composers of that era often specified sponge-headed sticks. Modern timpanists execute such passages with felt sticks. The two most common grips in playing
504-400: A quicker roll than timpani tuned to a lower pitch. While performing the timpani roll, mallets are usually held a few inches apart to create more sustain. Anton Bruckner 's Symphony No. 7 requires a continuous roll on a drum for over two and a half minutes. In general, timpanists do not use multiple bounce rolls like those played on the snare drum , as the soft nature of timpani sticks causes
567-413: A range of a perfect fifth , or seven semitones . Changing the pitch of a timpani by turning each tension rod individually is a laborious process. In the late 19th century, mechanical systems to change the tension of the entire head at once were developed. Any timpani equipped with such a system may be considered machine timpani , although this term commonly refers to drums that use a handle connected to
630-438: A shaft and a head. The shaft is typically made from hardwood or bamboo but may also be made from aluminum or carbon fiber . The head can be constructed from a number of different materials, though felt wrapped around a wooden core is the most common. Other core materials include compressed felt, cork , and leather . Unwrapped sticks with heads of wood, felt, flannel, and leather are also common. Wooden sticks are used as
693-449: A soft roll with snare drum sticks. However, snare drum sticks tend to produce too loud a sound, and since this work's premiere, the passage has been performed by striking with coins. Benjamin Britten asks for the timpanist to use drumsticks in his War Requiem to evoke the sound of a field drum. Robert W. Smith 's Songs of Sailor and Sea calls for a "whale sound" on the timpani. This
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#1732876556042756-454: A special effect —specifically requested by composers as early as the Romantic era—and in authentic performances of Baroque music . Wooden timpani sticks are also occasionally used to play the suspended cymbal. Although not usually stated in the score (excepting the occasional request to use wooden sticks), timpanists will change sticks to suit the nature of the music. However, the choice during
819-415: A spider-type tuning mechanism. By far the most common type of timpani used today are pedal timpani, which allows the tension of the head to be adjusted using a pedal mechanism. Typically, the pedal is connected to the tension screws via an assembly of either cast metal or metal rods called the spider . There are three types of pedal mechanisms in common use today: Professional-level timpani use either
882-502: A standard set of four or five drums. Many schools and youth orchestra ensembles unable to afford purchase of this equipment regularly rely on a set of two or three timpani, sometimes referred to as "the orchestral three". It consists of 29-inch (74 cm), 26-inch (66 cm), and 23-inch (58 cm) drums. Its range extends down only to F 2 . The drums are set up in an arc around the performer. Traditionally, North American , British , and French timpanists set their drums up with
945-411: A timpani cadenza. Also, Michael Daugherty 's Raise The Roof calls for this technique to be used for a certain passage. Leonard Bernstein calls for maracas on timpani in his Symphony No. 1 Jeremiah and in his Symphonic Dances from West Side Story suite. Edward Elgar attempts to use the timpani to imitate the engine of an ocean liner in his Enigma Variations by requesting the timpanist play
1008-412: A timpanist can hold two sticks in one hand much like a marimbist , or more than one timpanist can be employed. In his Overture to Benvenuto Cellini , for example, Hector Berlioz realizes fully voiced chords from the timpani by requiring three timpanists and assigning one drum to each. He goes as far as ten timpanists playing three- and four-part chords on sixteen drums in his Requiem , although with
1071-429: A variety of sizes from about 33 inches (84 cm) in diameter down to piccoli timpani of 12 inches (30 cm) or less. A 33-inch drum can produce C 2 (the C below the bass clef ), and specialty piccoli timpani can play up into the treble clef . In Darius Milhaud 's 1923 ballet score La création du monde , the timpanist must play F ♯ 4 (at the bottom of the treble clef). Each drum typically has
1134-408: A well-developed sense of relative pitch and must develop techniques to tune in an undetectable manner and accurately in the middle of a performance. Tuning is often tested with a light tap from a finger, which produces a near-silent note. Some timpani are equipped with tuning gauges, which provide a visual indication of the pitch. They are physically connected either to the counterhoop, in which case
1197-450: A wooden frame. It is half of a symphonia ( i.e. another type of drum ) and it looks like a sieve . The tympanum is so named because it is a half, whence also the half-pearl is called a tympanum. Like the symphonia, it is struck with a drumstick. The reference comparing the tympanum to half a pearl is borrowed from Pliny the Elder . The basic timpano consists of a drum head stretched across
1260-464: Is achieved by moistening the thumb and rubbing it from the edge to the center of the head. Among other techniques used primarily in solo work, such as John Beck's Sonata for Timpani , is striking the bowls. Timpanists tend to be reluctant to strike the bowls at loud levels or with hard sticks since copper can be dented easily due to its soft nature. On some occasions a composer may ask for a metal object, commonly an upside-down cymbal , to be placed upon
1323-450: Is an Italian plural, the singular of which is timpano . However, in English the term timpano is only widely in use by practitioners: several are more typically referred to collectively as kettledrums , timpani , temple drums , or timps . They are also often incorrectly termed timpanis . A musician who plays timpani is a timpanist . First attested in English in the late 19th century,
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#17328765560421386-537: Is different from Wikidata All article disambiguation pages All disambiguation pages Seasons Change (film) Seasons Change ( Thai : เพราะอากาศเปลี่ยนแปลงบ่อย , or Phror arkad plian plang boi ) is 2006 Thai romantic comedy film directed by Nithiwat Tharathorn . The story takes place at the College of Music, Mahidol University over one year and covers the three seasons that Bangkok typically experiences – summer, winter and monsoon. It chronicles
1449-461: Is mentioned, along with a faux name origin, in the Etymologiae of St. Isidore of Seville : Tympanum est pellis vel corium ligno ex una parte extentum. Est enim pars media symphoniae in similitudinem cribri. Tympanum autem dictum quod medium est, unde et margaritum medium tympanum dicitur; et ipsud ut symphonia ad virgulam percutitur. The tympanum is a skin or hide stretched over one end of
1512-538: Is reduced by damping or muting the drums, and in some cases composers will specify that timpani be played con sordino (with mute) or coperti (covered), both of which indicate that mutes - typically small pieces of felt or leather - should be placed on the head. Composers will sometimes specify that the timpani should be struck with implements other than timpani sticks. It is common in timpani etudes and solos for timpanists to play with their hands or fingers. Philip Glass 's Concerto Fantasy utilizes this technique during
1575-820: Is roughly D 2 to A 3 . A great majority of the orchestral repertoire can be played using these four drums. However, contemporary composers have written for extended ranges. Igor Stravinsky specifically writes for a piccolo timpano in The Rite of Spring , tuned to B 3 . A piccolo drum is typically 20 inches (51 cm) in diameter and can reach pitches up to C 4 . Beyond this extended set of five instruments, any added drums are nonstandard. ( Luigi Nono 's Al gran sole carico d'amore requires as many as eleven drums, with actual melodies played on them in octaves by two players.) Many professional orchestras and timpanists own more than just one set of timpani, allowing them to execute music that cannot be more accurately performed using
1638-535: Is typical for only one timpani to be struck at a time, but occasionally composers will ask for two notes. This is called a double stop , a term borrowed from the string instrument vocabulary. Ludwig van Beethoven uses this effect in the slow third movement of his Ninth Symphony , as do Johannes Brahms in the second movement of his German Requiem and Aaron Copland in El Salón México . Some modern composers occasionally require more than two notes. In this case,
1701-725: Is used as a guide and to help lift the stick off of the drum. The American grip is a hybrid of these two grips. Another known grip is known as the Amsterdam Grip, made famous by the Royal Concertgebouw Orchestra, which is similar to the Hinger grip, except the stick is cradled on the lower knuckle of the index finger. A standard set of timpani (sometimes called a console) consists of four drums: roughly 32 inches (81 cm), 29 inches (74 cm), 26 inches (66 cm), and 23 inches (58 cm) in diameter. The range of this set
1764-566: Is used by composers such as Bartók, Bernstein, and Kodály. A variation of this is to strike the head while two fingers of one hand lightly press and release spots near the center. The head will then vibrate at a harmonic much like the similar effect on a string instrument. Resonance can cause timpani not in use to vibrate, causing a quieter sound to be produced. Timpanists must normally avoid this effect, called sympathetic resonance , but composers have exploited it in solo pieces such as Elliott Carter 's Eight Pieces for Four Timpani . Resonance
1827-482: The Kennedy Center Friedheim Awards . There have been other timpani concertos, notably, Philip Glass , considered one of the most influential composers of the late 20th century, wrote a double concerto at the behest of soloist Jonathan Haas titled Concerto Fantasy for Two Timpanists and Orchestra , which features its soloists playing nine drums a piece. For general playing, a timpanist will beat
1890-484: The percussion family . A type of drum categorised as a hemispherical drum, they consist of a membrane called a head stretched over a large bowl traditionally made of copper . Thus timpani are an example of kettledrums , also known as vessel drums and semispherical drums, whose body is similar to a section of a sphere whose cut conforms the head. Most modern timpani are pedal timpani and can be tuned quickly and accurately to specific pitches by skilled players through
1953-461: The score to determine the length the note should sound. The typical method of muffling is to place the pads of the fingers against the head while holding onto the timpani stick with the thumb and index finger. Timpanists are required to develop techniques to stop all vibration without making any sound from the contact of their fingers. Muffling is often referred to as muting , which can also refer to playing with mutes on them ( see below ). It
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2016-500: The 16th century. In 1457, a Hungarian legation sent by King Ladislaus V carried larger timpani mounted on horseback to the court of King Charles VII in France . This variety of timpani had been used in the Middle East since the 12th century. These drums evolved together with trumpets to be the primary instruments of the cavalry . This practice continues to this day in sections of
2079-601: The Italian word timpani derives from the Latin tympanum (pl. tympana ), which is the latinisation of the Greek word τύμπανον ( tumpanon , pl. tumpana ), 'a hand drum', which in turn derives from the verb τύπτω ( tuptō ), meaning 'to strike, to hit'. Alternative spellings with y in place of either or both i ' s— tympani , tympany , or timpany —are occasionally encountered in older English texts. Although
2142-486: The audience is able to switch between camera angles during the interview. During the entire interview, the cast comments on each individual scene. The audio soundtrack and subtitles are only in Thai; no English-language features are available. Timpani Timpani ( / ˈ t ɪ m p ə n i / ; Italian pronunciation: [ˈtimpani] ) or kettledrums (also informally called timps ) are musical instruments in
2205-497: The circumference. The head's tension can be adjusted by loosening or tightening the rods. Most timpani have six to eight tension rods. The shape and material of the bowl's surface help to determine the drum's timbre . For example, hemispheric bowls produce brighter tones while parabolic bowls produce darker tones. Modern timpani are generally made with copper due to its efficient regulation of internal and external temperatures relative to aluminum and fiberglass. Timpani come in
2268-499: The film was released in Thailand as a VCD and a two-disc special edition DVD. In addition to the original movie, the first disc of the DVD edition contains a host of special features, including a photo gallery, deleted scenes, director commentary and music videos. The second disc features an interview with the director and the leading roles of the movie. This is presented in a multi-angle format as
2331-401: The frame and bowl. They may use any of the pedal mechanisms, though the balanced action system is by far the most common, followed by the friction clutch system. Many professionals also use these drums for outdoor performances due to their durability and lighter weight. The pedal is in the center of the drum itself. On chain timpani , the tension rods are connected by a roller chain much like
2394-405: The gauge indicates how far the counterhoop is pushed down, or the pedal, in which case the gauge indicates the position of the pedal. These gauges are accurate when used correctly. However, when the instrument is disturbed in some fashion (transported, for example), the overall pitch can change, thus the markers on the gauges may not remain reliable unless they have been adjusted immediately preceding
2457-416: The harp namely, and the tympanum. " Arabian nakers , the direct ancestors of most timpani, were brought to 13th-century Continental Europe by Crusaders and Saracens . These drums, which were small (with a diameter of about 8 to 8 + 1 ⁄ 2 inches (20–22 cm)) and mounted to the player's belt, were used primarily for military ceremonies . This form of timpani remained in use until
2520-547: The head and then struck or rolled while executing a glissando on the drum. Joseph Schwantner uses this technique in From A Dark Millennium . Carl Orff asks for cymbals resting on the head while the drum is struck in his later works. Additionally, Michael Daugherty utilizes this technique in his concerto Raise The Roof . In his piece From me flows what you call Time , Tōru Takemitsu calls for Japanese temple bowls to be placed on timpani. The first recorded use of early Tympanum
2583-400: The head approximately 4 inches (10 cm) in from the edge. Beating at this spot produces the round, resonant sound commonly associated with timpani. A timpani roll (most commonly signaled in a score by tr or three slashes ) is executed by striking the timpani at varying velocities; the speed of the strokes are determined by the pitch of the drum, with higher pitched timpani requiring
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2646-519: The introduction of pedal tuning, this number can be reduced. Modern composers will often specify the beating spot to alter the sound of the drum. When the timpani are struck directly in the center, they have a sound that is almost completely devoid of tone and resonance. George Gershwin uses this effect in An American in Paris . Struck close to the edge, timpani produce a very thin, hollow sound. This effect
2709-461: The life of a young high school student, Pom, and his impulsive decision to attend a music school, unknown to his parents, because of a girl he has secretly liked for three years, Dao. At the music school, he befriends Aom, who eventually becomes his best friend at the academy. As a talented rock drummer he aids a wise Japanese instructor, Jitaro, in research. He also forms a rock band with two friends, Ched and Chat. However, in order to become closer to
2772-606: The lowest drum on the left and the highest on the right (commonly called the American system), while German , Austrian , and Greek players set them up in the reverse order, as to resemble a drum set or upright bass (the German system). This distinction is not strict, as many North American players use the German setup and vice versa. Throughout their education, timpanists are trained as percussionists, and they learn to play all instruments of
2835-540: The one found on a bicycle , though some manufacturers have used other materials, including steel cable . In these systems, all the tension screws can then be tightened or loosened by one handle. Though far less common than pedal timpani, chain and cable drums still have practical uses. Occasionally, a timpanist is forced to place a drum behind other items, so he cannot reach it with his foot. Professionals may also use exceptionally large or small chain and cable drums for special low or high notes. A rare tuning mechanism allows
2898-486: The opening of a bowl typically made of copper or, in less expensive models, fiberglass or aluminum . In the Sachs–Hornbostel classification , this makes timpani membranophones . The head is affixed to a hoop (also called a flesh hoop ), which in turn is held onto the bowl by a counter hoop . The counter hoop is usually held in place with a number of tuning screws called tension rods placed regularly around
2961-446: The pedals to retune while playing. Portamento effects can be achieved by changing the pitch while it can still be heard. This is commonly called a glissando , though this use of the term is not strictly correct. The most effective glissandos are those from low to high notes and those performed during rolls. One of the first composers to call for a timpani glissando was Carl Nielsen , who used two sets of timpani playing glissandos at
3024-459: The percussion family along with timpani. However, when appointed to a principal timpani chair in a professional ensemble, a timpanist is not normally required to play any other instruments. In his book Anatomy of the Orchestra , Norman Del Mar writes that the timpanist is "king of his own province", and that "a good timpanist really does set the standard of the whole orchestra." A qualified member of
3087-544: The percussion section sometimes doubles as associate timpanist, performing in repertoire requiring multiple timpanists and filling in for the principal timpanist when required. Among the professionals who have been highly regarded for their virtuosity and impact on the development of the timpani in the 20th century are Saul Goodman , Hans Schnellar, Fred Hinger, and Cloyd Duff. A few solo concertos have been written for timpani, and are for timpani and orchestral accompaniment. The 18th-century composer Johann Fischer wrote
3150-477: The performance. The pitch can also be changed by room temperature and humidity. This effect also occurs due to changes in weather, especially if an outdoor performance is to take place. Gauges are especially useful when performing music that involves fast tuning changes that do not allow the timpanist to listen to the new pitch before playing it. Even when gauges are available, good timpanists will check their intonation by ear before playing. Occasionally, timpanists use
3213-598: The pitch to be changed by rotating the drum itself. A similar system is used on rototoms . Jenco, a company better known for mallet percussion , made timpani tuned in this fashion. In the early 20th century, Hans Schnellar, the timpanist of the Vienna Philharmonic , developed a tuning mechanism in which the bowl is moved via a handle that connects to the base and the head remains stationary. These instruments are referred to as Viennese timpani ( Wiener Pauken ) or Schnellar timpani . Adams Musical Instruments developed
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#17328765560423276-412: The ratchet or friction system and have copper bowls. These drums can have one of two styles of pedals. The Dresden pedal is attached at the side nearest the timpanist and is operated by ankle motion. A Berlin -style pedal is attached by means of a long arm to the opposite side of the timpani, and the timpanist must use their entire leg to adjust the pitch. In addition to a pedal, high-end instruments have
3339-400: The rebound of the stick to be reduced, causing multiple bounce rolls to sound muffled. However, when playing with wood mallets, timpanists sometimes use multiple bounce rolls. The tone quality can be altered without switching sticks or adjusting the tuning. For example, by playing closer to the edge, the sound becomes thinner. A more staccato sound can be produced by changing the velocity of
3402-425: The same term [REDACTED] This disambiguation page lists articles associated with the title Seasons Change . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Seasons_Change&oldid=1118347762 " Category : Disambiguation pages Hidden categories: Short description
3465-443: The same time in his Symphony No. 4 ("The Inextinguishable") . Pedaling refers to changing the pitch with the pedal; it is an alternate term for tuning . In general, timpanists reserve this term for passages where they must change the pitch in the midst of playing. Early 20th-century composers such as Nielsen, Béla Bartók , Samuel Barber , and Richard Strauss took advantage of the freedom that pedal timpani afforded, often giving
3528-476: The stroke or playing closer to the center. Prior to playing, the timpanist must clear the heads by equalizing the tension at each tuning screw. This is done so every spot is tuned to exactly the same pitch. When the head is clear, the timpani will produce an in-tune sound. If the head is not clear, the pitch will rise or fall after the initial impact of a stroke, and the drum will produce different pitches at different dynamic levels . Timpanists are required to have
3591-508: The talented violinist Dao, he joins the orchestra and is assigned by the feisty conductor, Rosie, to play timpani . Eventually, as time schedule collides, he is forced to choose between playing in a rock band or the orchestra, and is also forced to choose between his crush on Dao, or his best friend, Aom. This movie was generally well-received by its target audience, and it quickly became a favorite among Thai adolescents for its lovable characters whom many found easy to relate to. The soundtrack
3654-464: The timpani are the German and French grips. In the German grip, the palm of the hand is approximately parallel with the drum head and the thumb should be on the side of the stick. In the French grip, the palm of the hand is approximately perpendicular with drum head and the thumb is on top of the stick. In both of these styles, the fulcrum is the contact between the thumb and middle finger. The index finger
3717-431: The timpani the bass line. Since timpani have a long sustain, muffling or damping is an inherent part of playing. Often, timpanists will muffle notes so they only sound for the length indicated by the composer. However, early timpani did not resonate nearly as long as modern timpani, so composers often wrote a note when the timpanist was to hit the drum without concern for sustain. Today, timpanists must use their ear and
3780-422: The use of a movable foot-pedal. They are played by striking the head with a specialized beater called a timpani stick or timpani mallet . Timpani evolved from military drums to become a staple of the classical orchestra by the last third of the 18th century. Today, they are used in many types of ensembles , including concert bands , marching bands , orchestras , and even in some rock bands . Timpani
3843-504: The word timpani has been widely adopted in the English language, some English speakers choose to use the word kettledrums . The German word for timpani is Pauken ; the Swedish word is pukor in plural (from the word puka ), the French and Spanish is timbales , not to be confused with the latin percussion instrument , which would actually supersede the timpani in the traditional Cuban ensemble known as Charanga . The tympanum
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#17328765560423906-540: Was also popular among teenage movie-goers as it borrowed from a hit single by pop singer-songwriter Boyd Kosiyabong . Film critic Sorradithep Supachanya wrote: "The story is clearly cliché and the title hopelessly unoriginal (it shares the title with one of the most popular, and overplayed, Thai songs in the country’s pop music history); yet, with the director’s brilliant mix of picturesque landscapes, beautiful music, and plenty of harmless humour, Seasons Change turns out fresh, sweet, and heartwarmingly enjoyable". In 2006
3969-683: Was in "ancient times when it is known that they were used in religious ceremonies by Hebrews." The Moon of Pejeng , also known as the Pejeng Moon , in Bali , the largest single-cast bronze kettledrum in the world, is more than two thousand years old. The Moon of Pejeng is "the largest known relic from Southeast Asia's Bronze Age period." The drum is in the Pura Penataran Sasih temple." In 1188, Cambro-Norman chronicler Gerald of Wales wrote, " Ireland uses and delights in two instruments only,
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