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0% found this document useful (0 votes)
29 views6 pagesCymbal Facts
Uploaded by
vdconner001Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
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/ 6
THON ACIS:
Hh Give TO CHMBAIS FOR TODAY'S PERCUSSION EDUCATORS AND STUDENTS —
Introducing...
CQymbalfac
“The wide vasiety
of music being
played by today’s
brehestas,
gence indy,
marching bands,
fombos tnd stage
band demands,
smote than ever, the
need for informed
rmbal selection and
paying 3
| Pee proper use of cymbals
1 the educational envitonment is
‘nlinually overiooked, due to the
conception tat al that required from
them fa crash, Cymbals are in ic, an
integral part of any percussive
Contibution fo a plece of musi.
rom cymbals on a drum set, t0
suspended and hand cymbals in the
‘ontert band, to czah Cymbals on the
thing et ac demands steton
to both proper performance technique
and cus inurient selection.
The accompanying information i a
suggested gud tothe fundamentals of
Understanding, selecing and playin
cymbals, Knowledge ofthis material may
prove valuable in making the most sutble
elecions, attaining the bes possible
Sounds, andl enjoying the longest
Iie from your cymbals SF
_ Inside Sc
Hand Cymbal Playing,
Suspended Oymbals.
Hand Cymbal Rudiments...
(Cymbals in the Drum Set...
Getting Into the Swing...
Selecting Cymbal...
‘Cymbal Anatomy :
Recommended Cymbal Selection
tipping Cymbal Straps
Knotting Cymbal Straps.
oop
AN
Understanding
Cymbals
Alhough deren cymbal offer a vay of anges (high,
mmelign and low tone, god cjmbals proce a mulipe
Sula opposed to. cent “pic This seund bs compas
SFarmalpicty of tones, so tat wile the cymbal doesnot
rede spec tei tonal specram wil ensure whether i
Eons a afr of higher or loner pitched fondant and
wherefore be tne wh ary se with which played
Nuno bt come deine the suelo
ymin Key among them ae ae, weigh, profile, and el size
ker to Ciba Ahatomyon page 3
PAGE ONE Besse
suspended oj
sous fora vay
oh eff, v0
ferent cymbals are
often prefere Sa
feet a ot
fer weight for
paansine vols, larger
End heaves modesto
proce louder
Petey may
cy may es
requ be payed
‘wih avaly ot
eaters mnging
from soft, felt-
covered and
yam-wound males to
caren sticks and meal scrapers of
porionate size and weight tote
Stal being payed
Hand Cymbal Playing
|
A thorough knowledge of rudimentary
‘cymbal strokes is imperative in correctly
‘executing cymbal parts with ease and.
1, With cymbal straps gripped in the
desired manner (see page 6, “Gripping
‘Cymbal Straps"), place cymbals together
and toa cheschigh veel postion
Sih away from the body (se A, next
age).
2. For fll ashes, star from postion
‘A. Move cymbals apart to playing position
Gee B, next page), Now bring right hand
Quickly upward while left hand starts
lowaward The upper ee ofthe ight
cymbal contacts fs, slightly below the
top ofthe let cymbal, but follow
through brings the faces of both eym-
bals together almost immediately
Daring contact, the ws ae quickly
rotated, the right cuwardly and down,
Suspension: There
ae two popular methods 2.
suspending cymbals,
‘One Hand Roll Play cose to cymbal
edge (2-3") with one mallet. Other hand
remains fe to mute as required. This roll
can also be played with evo malies in
fone hand - one ontop ofthe cymbal, one
(A) Legato (with soft stick, let ring)
(B) Staceato (with wood or hard stick,
choke alter each soke)
PAGE INO
the left inwardly and up (see Cand D,
next page)
Follow through should be smooth.
“To sop the sound after the eras, caw
the cymbals against the chest Such damp
ening s dependent upon the note values
required.
3, Dynamic variations from the full
crash depend on angle of right cymbal in
position ©. The inal angle of ths cymbal
‘wll be greater for louder CP) crashes than
gui Ones ni orp. Vary these anges
Fe ferent jemi eves ute
dlsances are determined for player's syle
land comfor. a
‘Actual motion of postions B, C and D
may be varied from verical t horizontal
reson bn, Gand HT ame
ciples of movement apply throughout,
End ate most effective in nt pp
‘two Hand
Roll: Play close to
cymbal edge 23")
with mallets oF
‘dramatic tips or butt
ends sting at
3and 9
(Crash): With butt end of drumstic, slice
across cymbals edge, muting as required
with other
| Ride Cymbal Time Beat (for
porting) Wit tp ot cums pay
‘notes 3-5" from cymbal edge, Follow through (for both variations)
Hand Gymbal Rudiments
1. Tutti Stroke (Full ensemble, not solo) | 5. Accented Stroke: Heavier blow with | in aguins face of lft cymbal near the
Successive strokes, usualy accom Ghuicker arm motion on accented up. Holding the let cymbal stil, slide
panying bass drum. Dampen a8 fotes, Do not overplay accents fight eymbal up and away from the
Indicated by res. sian ae felt to Indicated note value
ae 5 Ree eS | _
es SSSqq y inn Pei S Sata aaeeta |
f .| 6. Smorzando Stroke (Dying away): w
2, Staccato Stroke (Detached, short Ste cymbals at inicated cynamic | 9. Rermata Stroke (Fare): The dramatic,
Joi: Rapid am motion followed | evel mule one cymbal immediately |” lasing stroke used swherever a Fer-
by immediate dampening Zndlet other ring towards conduct, | mata cecurs, and for singe stroke
we lowing tone to fade away. Climaxes.Afler making the stoke, alse |
ze) | ane ‘hands level with the shoulders and
a aA | tum inside fos of both gms
. = directly towards the conductor.
3. Legato or Tent Stroke: Slowerarm | _— 2 he inane
Miklon to produces lopato or stoath. | 7. Tremolo Rubbing) stroke: Move, | ee
found Dafapen afer fll value of note | "wih crulr, ubbing mosion until ==
is reached, end of note value, then slide right
ae cqrtalypand stay fom ef ire | 10 Aer Bet choke Sooke (or op
: