Cymbal
The cymbals are common percussion instruments. Often used in pairs, cymbals consist of thin, normally round plates of various copper alloys. The majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs sound a definite note. Cymbals are used in many ensembles ranging from the orchestra and percussion ensembles to jazz bands, rock bands, and marching bands. Drum kits usually incorporate at least a crash, a ride, or a crash/ride cymbal and a pair of hi-hat cymbals. A player of cymbals is known as a cymbalist.
Etymology and names
The word cymbal is derived from the Latin cymbalum, which is the latinisation, which in turn derives.In orchestral scores, cymbals may be indicated by the French cymbales; German Becken, Schellbecken, Teller, or Tschinellen; Italian piatti or cinelli; and Spanish platillos. Many of these derive from the word for plates.
History
Cymbals have existed since ancient times. Representations of cymbals may be found in reliefs and paintings from Armenian Highlands, Larsa, Babylon, Assyria, ancient Egypt, ancient Greece, and ancient Rome. References to cymbals also appear throughout the Bible, through many Psalms and songs of praise to God. Cymbals may have been introduced to China from Central Asia in the 3rd or 4th century AD.India
In India, cymbals have been in use since ancient times and are still used across almost all major temples and Buddhist sites. Gigantic aartis along the Ganges, which are revered by Hindus all over the world, are incomplete without large cymbals.Central Asia and Iran
The Shahnameh mentions the use of cymbals at least 14 times in its text, most in the context of creating a loud din in war, to frighten the enemy or to celebrate. The Persian word is sanj or senj, but the Shahnameh does not claim these to be Persian in origin. Several times it calls them "Indian cymbals." Other adjectives to describe them include "golden" and "brass," and to play them is to "clash" them.A different form is called sanj angshati, these are zill.
Ashura ceremony
Besides the original use in war, another use in Persian culture was the Ashura ceremony.Originally in the ceremony, two pieces of stone were beaten on the sides of the mourner with special movements accompanied by a lamentation song. This has been replaced by beating Karbzani or Karebzani and playing sanj and ratchets. Cities where this has been performed include Lahijan and Aran of Kashan, as well as Semnan and Sabzevar.
Etymology
All theories about the etymology of the word Sanj, identify it as a Pahlavi word. By some accounts means weight; and it is possible that the original term was sanjkūb meaning ”striking weights” . By some accounts the word is reform version of "Zang", referring to its bell-shaped plate.Turkey
Cymbals were employed by Turkish janissaries in the 14th century or earlier. By the 17th century, such cymbals were used in European music, and more commonly played in military bands and orchestras by the mid 18th century. Since the 19th century, some composers have called for larger roles for cymbals in musical works, and a variety of cymbal shapes, techniques, and hardware have been developed in response.Anatomy
The anatomy of the cymbal plays a large part in the sound it creates. A hole is drilled in the center of the cymbal, which is used to either mount the cymbal on a stand or for tying straps through. The bell, dome, or cup is the raised section immediately surrounding the hole. The bell produces a higher "pinging" pitch than the rest of the cymbal. The bow is the rest of the surface surrounding the bell. The bow is sometimes described in two areas: the ride and crash area. The ride area is the thicker section closer to the bell while the crash area is the thinner tapering section near the edge. The edge or rim is the immediate circumference of the cymbal.Cymbals are measured by their diameter either in inches or centimeters. The size of the cymbal affects its sound, larger cymbals usually being louder and having longer sustain. The weight describes how thick the cymbal is. Cymbal weights are important to the sound they produce and how they play. Heavier cymbals have a louder volume, more cut, and better stick articulation. Thin cymbals have a fuller sound, lower pitch, and faster response.
The profile of the cymbal is the vertical distance of the bow from the bottom of the bell to the cymbal edge. The profile affects the pitch of the cymbal: higher profile cymbals have higher pitch.
Types
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.Clash cymbals
Orchestral clash 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 as clash cymbals, crash cymbals, hand cymbals, or plates. Certain sounds 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" or "crush". A skilled percussionist can obtain an enormous dynamic range from such cymbals. For example, in Beethoven's Symphony No. 9, the percussionist is employed to first play cymbals pianissimo, adding a touch of colour rather than loud crash.Crash cymbals are usually damped by pressing them against the percussionist's body. A composer may write laissez vibrer, or, "let vibrate", secco, or equivalent indications on the score; more usually, the percussionist must judge when to damp based on the written duration of a crash and the context in which it occurs. Crash 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 it contributes to both very low and very high-frequency ranges and provides a satisfying "crash-bang-wallop". In older music the composer sometimes provided one part for this pair of instruments, writing senza piatti or piatti soli if only one is needed. This came from the common practice of having one percussionist play using one cymbal mounted to the shell of the bass drum. The percussionist would crash the cymbals with the left hand and use a mallet to strike the bass drum with the right. This method is nowadays often employed in pit orchestras and called for specifically by composers who desire a certain effect. Stravinsky calls for this in his ballet Petrushka, and Mahler calls for this in his Titan Symphony. The modern convention is for the instruments to have independent parts. However, in kit drumming, a cymbal crash is still most often accompanied by a simultaneous kick to the bass drum, which provides a musical effect and support to the crash.