Drums
& Equipment - Cymbals - Clash Cymbals
Clash cymbals or hand cymbals are cymbals used in
identical pairs and are played by holding one cymbal in each hand and
striking the two together. Sometimes they are called crash cymbals; See
the article crash cymbal for the more usual use of this term.
Terminology
The technical term clash cymbal is rarely used. In musical scores, clash
cymbals are normally indicated merely as cymbals, or sometimes simply
C.C. If another type of cymbal, for example a suspended cymbal, is
required in an orchestral score, then for historical reasons this will
be indicated cymbals. Some composers and arrangers use the plural
cymbals (or crash cymbals) to indicate clash cymbals, with the singular
cymbal to indicate a supended cymbal.
Composers will often mix clash cymbals and suspended cymbal on the same
part. There are a number of techniques used to indicate which is
desired. Whenever with stick or with mallet is written, a suspended
cymbal is used. A return to clash cymbals can be specified with the
Italian phrase a 2. Russian composers developed a notation to
differentiate between clash and suspended cymbals in which a + (plus
sign) is written over a note to be played on suspended cymbal and a °
(open circle) is written over a note to be played with clash cymbals.
Technique
Clash cymbals are conventionally played by a standing player. In a
marching band context, the player prepares for the crash by holding the
cymbals parallel a few inches apart, with the surfaces vertical, one at
waist height and the other some distance above it. The cymbals can also
be held with the bottom cymbal at a downward angle with the top cymbal
flat. They are struck together by bringing the upper cymbal down while
the lower freely catches the upper motion. Depending on the type of
crash desired, the cymbals should be brought together with either a very
quick or longer "fa-lam" (flam).
If only a single crash is to be played, the sounding cymbals are then
both raised in a follow through and held vertical but no longer
parallel, but instead in roughly the same plane with their concave
surfaces facing the conductor and held head high on either side of the
player. This allows the maximum effect to reach the conductor and
audience. Alternatively, if another stroke is to follow, the cymbals are
allowed to follow through only until they have reached the same heights
as they started (but now vertically reversed), and are then ready in
position for the next stroke.
For softer strokes, in preparation the cymbals are held not quite
vertically but at a slight angle, but still parallel, and the upper
cymbal is then allowed to fall towards the lower. The follow through is
reduced or even omitted after softer strokes.
However, in an orchestral context, the cymbals are held parallel a few
inches apart at chest height. For piano crashes, the cymbals are held
vertically, whereas for forte crashes, they are held almost horizontal,
with the left cymbal on bottom. The left hand holds one cymbal
stationary, while the right hand brings the other cymbal together, with
the top (at soft dynamics) or left (at loud dynamics) edge hitting
first, followed almost immediately by the other.
Other common techniques are to choke the sounding cymbals by bringing
them together and holding them with their entire rims touching, thus
quickly damping their vibration, or to damp one or both against the
body, and there are many more advanced techniques. A skilled player can
produce elaborate rhythms by combining these techniques, and with fine
cymbals can exercise precise control over both the loudness and the
decay and apparent duration of each crash.
Less skilled players, children and cartoon characters are often seen
playing cymbals by beating them together with a purely horizontal
motion. This technique has even been used by some avant-garde composers,
but generally produces poor control of the sound and risks damage to
fine cymbals, which are not designed for such usage. Even most toy
cymbals will produce a better effect with the classical technique, and
even the youngest players will enjoy learning it - in the right mood!
Weights, tones and sizes
In the orchestra, clash cymbals are normally matched pairs of crash
cymbals. They are commonly found in three weights:
* Francese, French, leggero or light, the lightest and thinnest.
* Viennese, medio or medium.
* Germanic, German, Wagnerian, pesante or heavy, the heaviest and
thickest.
Pairs in all weights range in size from 16" to 21" diameter. The
smallest and thickest tend to have the higher pitch, the thinner ones
allow for greater expression, and the largest the greatest volume.
Clash cymbals are also used in military, stage and marching bands,
percussion ensembles, theatrical performances, and in state and
religious ceremonies. These range in size from those of orchestral
cymbals all the way down to about 5" in diameter.
Straps and alternatives
Orchestral clash cymbals and most band cymbals have leather straps
passed through the holes in their bells, leading to four tails which are
knotted inside the bell, to allow the player to hold them. Marching
bands in addition use leather pads between the outsides of the bells and
the player's hands.
Toy clash cymbals and some others have wooden or plastic handles
instead; These should never be used with fine cymbals and can damage
them. China type clash cymbals need no handles as the squared bells can
be held quite securely without them, and are often joined by a cord
through the holes in their bells which allows the player to release the
bells after striking producing less damping and greater sustain, and to
swing the cymbals producing doppler effects.
From:
http://en.wikipedia.org/wiki/Clash_cymbals
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