page_title: Evolution of timpani in the 18th and 19th centuries
section_title: Dresden model
hierarchical_section_title: Evolution of timpani in the 18th and 19th centuries / Technological developments in the timpani / Dresden model
caption_attribution_description: English: This pedal is on a Dresden timpano. The timpanist must disengage the clutch – seen here on the left of the pedal – to change the pitch of the drum. A modern example of the "Dresden" foot pedal. Español: Pedal de un timbal de Dresde. El intérprete debe desembragar la traba (que se vé a la izquierda del pedal) para cambiar la afinación. Français&#160;: This pedal is on a Dresden timpano. The timpanist must disengage the clutch – seen here on the left of the pedal – to change the pitch of the drum. Nederlands: pedaal van pauk. Polski: Pedał kotła drezdeńskiego. Kotlista grający na tym instrumencie chcący zmienić wysokość wydawanego przez kocioł dźwięku musi zwolnić sprzęgło, widoczne po lewej stronie. Русский: Педаль литавры. Simple English: A pedal on a pedal timpani with a ratchet clutch system.
context_page_description: The modern timpani evolved in the 18th and 19th centuries from the simple 12th-century membranophone of the Naker to a complex instrument, consisting of a suspended kettle with a foot-operated clutch, capable of rapid tuning. The technological evolution of the instrument led to increased interest in its capabilities and sound among such composers as Ludwig van Beethoven, Robert Schumann, and Hector Berlioz.
  Initially used only outdoors, the instrument underwent modifications in the 16th and 17th centuries that led to its incorporation into chamber ensembles. During the 18th and 19th centuries, modifications in its design and construction, and rising interest in the symphony orchestra led to changes not only to the ensemble's size, but also to composers' use of specific instruments within the orchestra.
  These new and challenging compositional demands influenced the design of the timpani, how timpanists play the instrument, and also helped to raise the standard of playing to a whole new level. The combination of composers' and players' interest in the timpani during the 18th and 19th centuries helped to make the instrument what it is today.
context_section_description: The last great development in timpani construction during the 19th century came in 1881 when Carl Pittrich, the Kapelldiener (German: Chapel Servant) in the Royal Saxon Orchestra, developed a foot pedal mechanism that could be attached to a timpani and made quick tuning changes much easier. This system was first developed to be an addition to the Pfundt/Hoffmann drums and was manufactured by Ernst Queisser. Later, Paul Focke manufactured the complete drum and pedal system in Dresden, Germany, thus giving it name of the "Dresden Model". The system worked by having a pedal that had a heavy counter weight at the top which was then connected to a rod at the bottom of the pedal. Using a series of gears and couplings, this rod was attached to the rocker arm underneath the kettle. The pedal had a clutch on it that allowed for the player to disengage the pedal when they desired to change the pitch. When the pedal was disengaged and moved up or down, the rod connecting to the rocker arm would be moved in either direction and as a result, the tension on the timpani head would be altered, providing a change in pitch. Once the desired pitch was reached, the player could re-engage the clutch and the pedal as well as the pitch would stay stationary. This new pedal system not only allowed for the drums' pitches to be changed faster, easier, and more accurately, but it also allowed for the hands of the timpanist to remain free to play and not be bothered with changing the drums pitch during a performance.
caption: A modern example of the "Dresden" foot pedal
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