Talk:Evolution of timpani in the 18th and 19th centuries/GA1
The structure and prose look mostly fine here; almost all of the sources are offline, but that's certainly acceptable given the subject matter and date range. There are also sufficient pictures with captions, and I don't see any major MOS issues. My biggest concern is that there are large chunks that are lacking in sources; for instance:
- Last half of "Timpani moves indoors."
- Rotating Timpani section: "However there was one major problem with this design. In order for the drums to be rotated, the player needed to use both hands. This would require the player to have to put down their mallets and therefore, they would not be able to make a tuning change while playing."
- First suspended kettle section: "This allowed for timpanists to change the drum's pitch during quiet parts of the music, something that the past models were not able to accomplish."
- Dresden model: "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." Also, it should be "drums'" pitches.
- Last section of "Berlioz's timpani writing" and "Schumann's timpani writing."
- "Impact of the "Dresden" timpani on compositions" should probably be broken up, as it's a really long paragraph.
- Several minor grammar issues. I would suggest taking it to WP:GOCE for a fine tuning.
Good enough start, but again, take it to the copy editors' guild and work on sourcing the last few bits that aren't sourced. I'm failing it for now. Reviewer: Ten Pound Hammer, his otters and a clue-bat • (Many otters • One bat • One hammer) 03:06, 23 April 2010 (UTC)