Timpani Notation?

Ok, so I have no idea how to notate this, but I want this effect basically. The first player rolls the A for all four measures, the second player rolls a G for the second measure, the third player rolls a Bb for beats 3 and 4 of the second measure. Then the third bar, only the A is held. Then the second player rolls a G in the fourth measure. This is the best I could do, but I don't know. Should I separate the parts in multiple staves? Or is this comprehensible? Do help, please. I'm uneasy about it.

Yeah, I would separate them, since its really confusing to understand without any explanation. I'm guessing the 2nd and 3rd timpanists will also be playing other percussion? Maybe notate something in their part

It could work. For playing on a standard set you should write in the tunings A, G, Bb, - and div a 3 (D, F, Bb). Though I think the players would much prefer it separate and you can do much more with individual drums separately.

All right, I'll just separate them. Thanks.

In percussion, rolling can be done with just one player over two or more drums of different pitches (with similar sized drums). You don't need each player playing his own single pitch. Three notes can be played simultaneously with the percussionist using two mallets in the right hand, and one in the left, not unlike a marimba player.

Oh. I didn't know that. I really don't know any percussionists, so I have no idea what kinds of techniques they are capable of using. Thanks for the info.

@Ken320: I've not heard of that either. But the timpanist would be able to play very loudly, though, right?

That tuning is suitable for solo playing, by the way. The low D or bottom drum tuned to A is compromised slightly but still within the range of a fifth. Specify soft mallets especially if you need it loud to smooth the transition from double to single handed roll on the A if required.

Could always just do this which would be even easier and have pretty much the same acoustic effect

@Ken320: I've not heard of that either. But the timpanist would be able to play very loudly, though, right?

yes, quite loudly. The challenge of the timpanist is like the trumpet players. Not so loud, please. I don't know what the composer's goal is here but playing mf on drums with whole note intervals will be "unique." At ppp they could be nice, at mf, I don't know.

https://www.youtube.com/watch?v=tk_WRp9ZQCA&list=PLB84FA7E5B5324EBB

Thanks for all the advice, guys.

Ken320, I am unclear about what you said. Do you think that the technique you mentioned will be effective when playing mf, or will it be not so good?

Shadowwolf3689, I don't think that your suggestion will have quite the effect I'm looking(listening) for as it is, but perhaps if tweaked a bit, it could be just what I need. Thank you for that, I will take it under advisement.

One handed alternating tremolo as shown in the clip is technically unorthodox. If you're going to use that a special instruction will be required. Percussionists don't distinguish between multiple stop tremolo and split voice tremolo. Shadowwolf3689's solution if written with G-A, G-B as stacked minims with strokes on top will be read the same way and considered better writing.

Quiet playing on the timpani is pretty comfortable. You can find examples of that in Holst's Mars and the opening theme of Richard Strauss's Burleske.

KJ, I think that you will have to get in a room with two players and two timpani's, because your ideas are indeed unorthodox. Compare one player playing whole steps on two drums to two players, each with their own drum. There may be a difference! I don't know. It will depend on the volume. I studied timpani and played it in my college orchestra, but even in a modern repertoire there were no "double stops." It is not very idiomatic to the instrument, so you are in uncharted territory. Again, volume may make the difference between noise and color.

All right. Thank you for all the information you've relayed to me. I hadn't realized this was such an uncommon thing. I'll have to find some percussionists willing to help me. This will be no difficult thing, I know where to go to have unhindered access to a set of timpani. Again thank you all for your help.

I've encountered lots of double stops but never triple or quadruple. Those would require using a marimba grip on the timpani. The one handed tremolo technique though is uncommon.

If you don't mind it sounding a little gapped or losing the ensemble spectacle, I think dropping the third beat A is the closest you can get to what you're after without being impractical. That will allow tuning in an ascending order. The ties can be dropped as well. The benefit of the tuning is that two of the notes will be closer to the sweet spot of their drums (G to F#, A) and should therefore sound and play better. The accidental or key should be there if you want B flat.

Thank you for that informative example image. I understand now. I'll be sure to test out this and all the other ideas that have been presented to decide on the one I want.