p93
p93
œ œ œ œ bœ bœ œ œ œ œ œ œœ
Trumpet in D 1 & c Œ ‰ J
œ œ œ œ œ œ œ œ œ œœ
Trumpet in D 2 & c Œ ‰ Jœ œ
# œ ˙ ˙ œ œœ
Flute 1 & # c œœœ
# j
Flute 2 & # c œ œ œ œ œ œ ‰ œj œ ‰ œ œ ‰ Jœ
# œ ˙ ˙ œ œœ
Violin I & # c œœœ
daddy stroke would dampen the head to some degree. To produce a sus-
tained sound on less than ideal heads, the timpanist would use gauze or
wool-covered sticks. Would a double stroke roll produce enough sound for
a mid-eighteenth-century orchestra? Yes, these orchestras were small by
today’s standards. Indeed, it was not unusual for Bach to be playing with
eighteen or twenty musicians (Terry 1932, 9). With an orchestra this size
or even somewhat larger, a double stroke roll would most likely produce
the sound that Bach needed.
In the latter part of the eighteenth century and in the nineteenth cen-
tury, timpanists became adept at playing single stroke as well as double
stroke rolls. This raises the question, “how would composers notate the
score to specify whether the roll was a single or double stroke?” We don’t
know the answer to this question, but let me suggest a probable story.