SYMBOLS AND MARKINGS ABOUT THE COMPANION WEBSITE THE TIMPANI ACOUSTICS OF THE TIMPANI TIMPANI MALLETS PLAYING STYLE TIMPANI HEADS PLAYING THE HEAD PLAYING THE HEAD: TECHNIQUES CHANGING TONE BY CHANGING THE GRIP STICK SELECTION AND TONE PRODUCTION USING PHYSICAL GESTURES TO COLOR TONE CHOICE OF DRUMS PLAYING IN AND AROUND THE PLAYING SPOT TONE PRODUCING STROKES THE GRIP PSYCHOLOGICAL OPENNESS TO MUSIC THE THEORY OF CONTRAST CONCLUSION THE COMPOSER'S STYLE, PSYCHOLOGY, AND INTENTIONS PHRASING AND ARTICULATION CREATING EMOTION AIDS IN INTERPRETING MUSIC TIMPANI, MALLETS AND TONE IN THE BAROQUE AND CLASSSICAL ERAS TECHNICAL CONSIDERATIONS IN INTERPRETING BAROQUE MUSIC (1650-1750) HENRY PURCELL AND JOHANN SEBASTIAN BACH GEORGE FRIDERIC HANDEL
{{comment.content}}