cymbal

Cymbals are a modern percussion instrument. Cymbals consist of thin, normally round plates of various alloys; see cymbal making for a discussion of their manufacture. The greater majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs sound a definite note (see: crotales). Cymbals are used in many ensembles ranging from the orchestra, percussion ensembles, jazz bands, heavy metal bands, and marching groups. A staple requirement of the drum kit, at least one suspended cymbal and a pair of hi-hat cymbals can be found on it.

Origins

The origins of cymbals can be traced back to prehistoric times. The ancient Egyptian cymbals closely resembled modern instruments. The British Museum possesses two pairs of Egyptian cymbals which are thirteen centimetres in diameter, and one of which was found in the coffin of the mummy of Ankhhape, a sacred musician. Those used by the Assyrians were both plate- and cup-shaped, those of the Ancient Persians large-sized plates, made of brass, known as Sanj. The Greek cymbals were cup- or bell-shaped, and may be seen in the hands of innumerable fauns and satyrs in sculptures and on painted vases. The word cymbal is derived from the Latin cymbalum, which itself derives from the Greek word kumbalom, meaning a small bowl.

Parts of a cymbal

• Bell, dome, or cup The center of a cymbal, often raised to a bell-like shape.
• Bow The remaining surface of the cymbal.
• Edge or rim The immediate circumference of the instrument.
• Hole The center of a cymbal, usually where a string or strap is placed, or where it is mounted on a stand.

Orchestral cymbals

Cymbals offer a composer nearly endless amounts of color and effect. Their unique timbre allows them to project even against a full orchestra and through the heaviest of orchestrations and enhance articulation and nearly any dynamic. Cymbals have been utilized historically to suggest frenzy, fury or bacchanalian revels, as seen in the Venus music in Wagner's Tannhäuser, Grieg's Peer Gynt suite, and Osmin's aria "O wie will ich triumphieren" from Mozart's Die Entführung aus dem Serail.

Crash cymbals

A pair of clash cymbals in profile. The bell is in green and the straps are in red.

Orchestral crash cymbals are traditionally used in pairs, each one having a strap set in the bell of the cymbal by which they are held. Such a pair is known in various terms as a pair of clash cymbals, crash cymbals, or plates.

The sound can be obtained by rubbing their edges together in a sliding movement for a "sizzle", striking them against each other in what is called a "crash", tapping the edge of one against the body of the other in what is called a "tap-crash", scraping the edge of one from the inside of the bell to the edge for a "scrape" or "zischen," or shutting the cymbals together and choking the sound in what is called a "hi-hat chick" or crush. A skilled player can obtain an enormous dynamic range from such a pair of cymbals. For example, in Beethoven's ninth symphony, the percussionist is employed to first play cymbals at pianissimo, adding a touch of colour rather than loud crash.

Clash cymbals are usually damped by pressing them against the player's body. A composer may write laissez vibrer, "Let vibrate" (usually abbreviated l.v.), secco (dry), or equivalent indications on the score; more usually, the player must judge exactly when to damp the cymbals based on the written duration of crash and the context in which it occurs.

Clash cymbals have traditionally been accompanied by the bass drum playing an identical part. This combination, played loudly, is an effective way to accentuate a note since the two instruments together contribute to both very low and very high frequency ranges and provide a satisfying "crash-bang-wallop". In older music the composer sometimes provided just one part for this pair of instruments, writing senza piatti or piatti soli (Italian: "without cymbals" or "cymbals only") if the bass drum is to remain silent. However, the modern convention is for the instruments to have independent parts.

Clash cymbals evolved into the low-sock and from this to the modern hi-hat. Even in a modern drum kit, they remain paired with the bass drum as the two instruments which are played with the player's feet. However, hi-hat cymbals tend to be heavy with little taper, more similar to a ride cymbal than to a crash cymbal as found in a drum kit, and perform a ride rather than a crash function.

Suspended cymbal

Another use of cymbals is the suspended cymbal. This instrument takes its name from the traditional method of suspending the cymbal by means of a leather strap or rope, thus allowing the cymbal to vibrate as freely as possible for maximum musical effect. Early jazz drumming pioneers borrowed this style of cymbal mounting during the early 1900s and later drummers further developed this instrument in to the mounted horizontal or nearly horizontally mounted "crash" cymbals of a modern drum kit.

Suspended cymbals can be played with sponge or cord wrapped mallets. The first known instance of using a sponge-headed mallet on a cymbal is the final chord of Hector Berlioz' Symphonie Fantastique. Composers sometimes specifically request other types of mallets like yard or felt mallets or timpani beaters for different attack and sustain qualities, although a cord-wrapped mallet is generally accepted by percussionists as the best implement to use on the instrument.

Suspended cymbals can produce bright and slicing tones when forcefully struck, and give an eerie transparent "windy" sound when played quietly. A tremolo, or roll (played with two mallets alternately striking on opposing sides of the cymbal) can build in volume from almost inaudible to an overwhelming climax in a satisfyingly smooth manner (as in Humperdink's Mother Goose Suite).

The edge of a suspended cymbal may be hit with shoulder of a drum stick to obtain a sound somewhat akin to that of a pair of clash cymbals. Other methods of playing include scraping a coin or a triangle beater rapidly across the ridges on the top of the cymbal, giving a "zing" sound (as in the fourth movement of Dvořák's Symphony No. 9). Other effects that can be used include drawing a cello or bass bow across the edge of the cymbal for a sound not unlike squealing car brakes.

Ancient cymbals

Ancient cymbals or tuned cymbals are much more rarely called for. Their timbre is entirely different, more like that of small hand-bells or of the notes of the keyed harmonica. They are not struck full against each other, but by one of their edges, and the note given in by them is higher in proportion as they are thicker and smaller. Berlioz's Romeo and Juliet calls for two pairs of cymbals, modelled on some old Pompeian instruments no larger than the hand (some are no larger than a crown piece), and tuned to F and B flat. The modern instruments descended from this line are the crotales.

This section requires expansion.

See also

• Cymbal alloys
• Cymbal making
• Drum
• Drum kit
• Percussion instrument
• Zill

Manufacturers

• Avedis Zildjian Company
• Saluda Cymbals
• Italian Bellotti Cymbals
• Agean Cymbals
• Bosphorus Cymbals
• Meinl
• Paiste
• Sabian
• Stagg
• UFIP
• Yamaha
• Wuhan
• Istanbul cymbals
• Istanbul Agop
• Turk Masters Cymbals
• Masterworks
• TRX Cymbals
• Orion
• Alchemy/Istanbul
• Soultone
• Amedia
• Anatolian

See also Category:Cymbal manufacturing companies.

External links

Wikimedia Commons has media related to: Cymbals

• Cymbal Forum Discussion forum about cymbals.
• Saluda Cymbals World of Custom Cymbals
• CymbalPlanet.com Welcome to the World of Cymbals
• Accessory Fetish A Complete List of Cymbal Manufacturers
• Orchestral cymbal playing, with an excellent short history of cymbals

References

• This article incorporates text from the Encyclopædia Britannica, Eleventh Edition, a publication now in the public domain.

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