Editing Cymbal (section)

=== Clash cymbals ===

[[Image:Crash cymbals profile.png|thumb|100px|A pair of clash cymbals in cross section. The bell is in green and the straps are in red.]]
{{Main|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 ninth symphony|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 [[Damping (music)|damped]] by pressing them against the percussionist's body. A composer may write ''laissez vibrer'', or, "let vibrate" (usually abbreviated l.v.), ''secco'' (dry), 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 (music)|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'' ({{langx|it|"without cymbals" or "cymbals only"}}) 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 (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.