Timpanists of the Baroque era were virtuoso showmen of privileged rank, protected by royal decrees throughout Europe. These musicians learned by rote through apprenticeship performance mannerisms called Schlagmanieren which encompassed rudimentary rhythmical figures and embellishments, as well as performance style. Timpanists were expected in performance to not only embellish simplistic parts, but expound upon them by improvising. Along with trumpeters, timpanists also served on the battlefield as communication relays from commanding officers to infantry ranks. These musicians performed short pieces which could be heard across great distances, while at the same time preventing opposing armies from directly understanding the communicated information. With two or more drums, timpanists could perform solos that developed the form and phrasing of the original work as well as the utilization of more than two pitches.

Modern timpani repertoire continues to focus on the melodic potential of multiple pedal timpani, musical shaping and phrasing as well as development of basic rhythmical figures and ideas.   My performance dissertation consists of recitals focused on the use of early timpani solos and military signals as a foundation for improvisation, connecting these early timpani performance practices to modern repertoire counterparts.  Each recital features selections of standard solo timpani repertoire connected via improvisation to an early-era timpani solo or military signal.  On each recital I have also included one standard orchestral repertoire selection that I have arranged for multiple pedal timpani.  On my first recital, I included a reduced version of a Baroque style timpani concerto to provide the audience with context; as timpani became an integral part of the orchestral sound, composers had to find a way to remove the improvisatory and embellishing performance practices while maintaining the command and spirit in the written parts.  This concerto offered the listeners precisely this experience.   Through these performances I hope to exemplify the strong connection of modern repertoire to its seemingly simplistic origins; the expectations of the early timpanist are just as demanding today.