Later, timpani were adopted into other classical music ensembles such as concert bands.
In the 1970s, marching bands and drum and bugle corps, which evolved both from traditional marching bands and concert bands, began to include marching timpani.
Unlike concert timpani, marching versions had fiberglass shells to make them light enough to carry.
Each player carried a single drum, which was tuned by a hand crank.
Often, during intricate passages, the timpani players would put their drums on the ground by means of extendable legs, and perform more like conventional timpani, yet with a single player per drum.
In the late 1970s and early 1980s, marching arts-based organizations' allowance for timpani and other percussion instruments to be permanently grounded became mainstream.
This was the beginning of the end for marching timpani: Eventually, standard concert timpani found their way onto the football field as part of the front ensemble, and marching timpani fell out of common usage.
Timpani are still used by the Mounted Bands of the Household Division of the British Army and of the Mounted Band of the Garde Républicaine in the French Army.

As rock and roll bands started seeking to diversify their sound, timpani found their way into the studio.
In 1959 Leiber and Stoller made the innovative use of timpani in their production of the Drifters' recording, "There Goes My Baby."
Starting in the 1960s, drummers for high-profile rock acts like The Beatles, Cream, Led Zeppelin, The Beach Boys, and Queen incorporated timpani into their music.
This led to the use of timpani in progressive rock.
Emerson, Lake & Palmer recorded a number of rock covers of classical pieces that utilize timpani.
Rush drummer Neil Peart added a tympani to his expanding arsenal of percussion for the Hemispheres (1978) and Permanent Waves (1980) albums and tours, and would later sample tympani in his drum solo, "The Rhythm Method" in 1988.
More recently, the rock band Muse has incorporated timpani into some of their classically based songs, most notably in Exogenesis: Symphony, Part I (Overture).
Jazz musicians also experimented with timpani.
Sun Ra used it occasionally in his Arkestra (played, for example, by percussionist Jim Herndon on the songs "Reflection in Blue" and "El Viktor," both recorded in 1957).
In 1964, Elvin Jones incorporated timpani into his drum kit on John Coltrane's four-part composition A Love Supreme.
Butch Trucks, drummer with the Allman Brothers Band made use of the timpani.

In his choral piece A Stopwatch and an Ordnance Map, Samuel Barber employs three pedal timpani upon which are played glissandos.

Jonathan Haas is one of the few timpanists who markets himself as a soloist.
Haas, who began his career as a solo timpanist in 1980, is notable for performing music from many genres including jazz, rock, and classical.
He released an album with a rather unconventional jazz band called Johnny H. and the Prisoners of Swing.
Glass's Concerto Fantasy, commissioned by Haas, put two soloists in front of the orchestra, an atypical placement for the instruments.
Haas also commissioned Susman's Floating Falling for timpani and cello.
Later, timpani were adopted into other classical music ensembles such as concert bands. In the 1970s, marching bands and drum and bugle corps, which evolved both from traditional marching bands and concert bands, began to include marching timpani. Unlike concert timpani, marching versions had fiberglass shells to make them light enough to carry. Each player carried a single drum, which was tuned by a hand crank. Often, during intricate passages, the timpani players would put their drums on the ground by means of extendable legs, and perform more like conventional timpani, yet with a single player per drum. In the late 1970s and early 1980s, marching arts-based organizations' allowance for timpani and other percussion instruments to be permanently grounded became mainstream. This was the beginning of the end for marching timpani: Eventually, standard concert timpani found their way onto the football field as part of the front ensemble, and marching timpani fell out of common usage. Timpani are still used by the Mounted Bands of the Household Division of the British Army and of the Mounted Band of the Garde Républicaine in the French Army.
As rock and roll bands started seeking to diversify their sound, timpani found their way into the studio. In 1959 Leiber and Stoller made the innovative use of timpani in their production of the Drifters' recording, "There Goes My Baby." Starting in the 1960s, drummers for high-profile rock acts like The Beatles, Cream, Led Zeppelin, The Beach Boys, and Queen incorporated timpani into their music. This led to the use of timpani in progressive rock. Emerson, Lake & Palmer recorded a number of rock covers of classical pieces that utilize timpani. Rush drummer Neil Peart added a tympani to his expanding arsenal of percussion for the Hemispheres (1978) and Permanent Waves (1980) albums and tours, and would later sample tympani in his drum solo, "The Rhythm Method" in 1988. More recently, the rock band Muse has incorporated timpani into some of their classically based songs, most notably in Exogenesis: Symphony, Part I (Overture). Jazz musicians also experimented with timpani. Sun Ra used it occasionally in his Arkestra (played, for example, by percussionist Jim Herndon on the songs "Reflection in Blue" and "El Viktor," both recorded in 1957). In 1964, Elvin Jones incorporated timpani into his drum kit on John Coltrane's four-part composition A Love Supreme. Butch Trucks, drummer with the Allman Brothers Band made use of the timpani. 
In his choral piece A Stopwatch and an Ordnance Map, Samuel Barber employs three pedal timpani upon which are played glissandos. 
Jonathan Haas is one of the few timpanists who markets himself as a soloist. Haas, who began his career as a solo timpanist in 1980, is notable for performing music from many genres including jazz, rock, and classical. He released an album with a rather unconventional jazz band called Johnny H. and the Prisoners of Swing. Glass's Concerto Fantasy, commissioned by Haas, put two soloists in front of the orchestra, an atypical placement for the instruments. Haas also commissioned Susman's Floating Falling for timpani and cello.
Timpani