Cymbals - this article is all about cymbals, subjects are: Crash cymbals, Clash cymbals, Hi-hat cymbals, Ride cymbals, Sizzle cymbals, Splash cymbals, Suspended cymbals, China cymbals, Swish and pang cymbals, Finger cymbals.
A little about Cymbals
The origins of cymbals can be traced back to prehistoric times. The ancient Egyptian cymbals closely resembled our own. The British Museum possesses two pairs, 13cm in diameter, 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. 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.
During the middle ages the word cymbal was applied to the glockenspiel, or peal of small bells, and later to the dulcimer, perhaps on account of the clear bell-like tone produced by the hammers striking the wire strings. After the introduction of the keyed dulcimer or clavichord the spinet, the word clavicymbal was used in the Romance languages to denote the varieties of spinet and harpsichord. Ancient cymbals are among the instruments played by King David and his musicians in the 9th century illuminated manuscript known as the Bible of Charles the Bald in the Bibliothèque Nationale, Paris.
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 technically as a pair of clash cymbals, although this term is rarely used, see clash cymbals. They are confusingly sometimes referred to simply as crash cymbals, although this term properly applies also to some suspended cymbals.
The sound is obtained by rubbing their edges together in a sliding movement rather than by clashing them against each other as laymen often suppose. A skilled player can obtain an enormous dynamic range from such a pair of cymbals. For example, in Beethoven's ninth symphony, one of their first appearances in an orchestral work, they make their entry pianissimo, adding a touch of colour rather than an almighty crash.
Clash cymbals are usually damped by pressing them against the player's body. A composer may write laissez vibrer, "Let them vibrate", 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 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.
The second main orchestral use of cymbals is the suspended cymbal. This is a cymbal mounted horizontally or nearly horizontally as in a modern drum kit. These can be played with felt mallets or timpani beaters and give an eerie sound when played quietly. A tremelo played in this way can build in volume to a climax in a satisfyingly smooth manner.
Furthermore, 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 Dvorak's Symphony No. 9). Cymbals may also be dropped, intentionally or otherwise, causing a range of sounds depending on whether it hits the floor full on or spins before coming to a rest. This is not particularly good for the cymbal, however.
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 out 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 ancient 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.