Editing Cymbal (section)

== 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 [[Richard Wagner|Wagner's]] ''[[Tannhäuser (opera)|Tannhäuser]]'', [[Grieg]]'s ''[[Peer Gynt suite]]'',{{sfn|Schlesinger|1911}} and Osmin's aria "O wie will ich triumphieren" from [[Mozart]]'s ''[[Die Entführung aus dem Serail]]''.

=== 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.

=== Hi hats ===
{{Main|Hi-hat}}

Crash cymbals evolved into the low-sock and from this to the modern [[Hi-hat (instrument)|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 [[clash cymbal]] as found in a drum kit, and perform a ride rather than a crash function.

=== Suspended cymbal ===<!-- This section is linked from [[Symphony No. 1 (Mahler)]] -->
{{Main|Suspended cymbal}}
Another use of cymbals is the [[suspended cymbal]]. This instrument takes its name from the traditional method of suspending the cymbal by means of a leather strap or rope, thus allowing the cymbal to vibrate as freely as possible for maximum musical effect. Early jazz drumming pioneers borrowed this style of cymbal mounting during the early 1900s and later drummers further developed this instrument into the mounted horizontal or nearly horizontally mounted "crash" cymbals of a modern [[drum kit]] instead of a leather strap suspension system. Many modern drum kits use a mount with felt or otherwise dampening fabric to act as a barrier to hold the cymbals between metal clamps: thus forming the modern-day ride cymbal. Suspended cymbals can be played with yarn-, sponge-, or cord wrapped [[Drum stick#Mallets|mallets]]. The first known instance of using a sponge-headed mallet on a cymbal is the final chord of Hector Berlioz' [[Symphonie Fantastique]]. Composers sometimes specifically request other types of mallets like felt mallets or [[timpani]] mallets for different attack and sustain qualities. Suspended cymbals can produce bright and slicing tones when forcefully struck, and give an eerie transparent "windy" sound when played quietly. A tremolo, or roll (played with two mallets alternately striking on opposing sides of the cymbal) can build in volume from almost inaudible to an overwhelming climax in a satisfyingly smooth manner (as in Humperdinck's Mother Goose Suite).<ref>{{cite book |last1=Blades |first1=James |title=Percussion instruments and their history |date=1992 |publisher=Bold Strummer |location=Westport, Conn. |isbn=978-0933224612 |page=[https://archive.org/details/percussioninstru00jame/page/380 380<!-- |pages=513 |edition=Rev.-->] |url=https://archive.org/details/percussioninstru00jame/page/380}}</ref> The edge of a suspended cymbal may be hit with the shoulder of a [[drum stick]] to obtain a sound somewhat akin to that of clash cymbals. Other methods of playing include scraping a coin or [[triangle (musical instrument)|triangle]] beater rapidly across the ridges on the top of the cymbal, giving a "zing" sound (as some percussionists do in the fourth movement of Dvořák's [[Symphony No. 9 (Dvořák)|Symphony No. 9]]). Other effects that can be used include drawing a bass bow across the edge of the cymbal for a sound like squealing car brakes.

=== Ancient cymbals ===
Ancient, antique 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 in by them is higher in proportion as they are thicker and smaller. Berlioz's ''Romeo and Juliet'' calls for two pairs of cymbals, modeled on some old Pompeian instruments no larger than the hand (some are no larger than a large coin), and tuned to F and B flat.{{sfn|Schlesinger|1911}} The modern instruments descended from this line are the [[crotales]].

=== List of cymbal types ===

[[Image:Hi-hats.jpg|thumb|Hi-hats. The clutch suspends the top cymbal on a rod operated by a pedal.]]
Cymbal types include:
* [[Bell cymbal]]
* [[China cymbal]]
* [[Clash cymbal]]
* [[Crash cymbal]]
* [[Crash/ride cymbal]]
* [[Finger cymbal]]
* [[Flat ride cymbal]]
* [[Hi-hat (instrument)|Hi-hat]]
* [[Ride cymbal]]
* [[Sizzle cymbal]]
* [[Splash cymbal]]
* [[Swish cymbal]]
* [[Suspended cymbal]]
* [[Taal (musical instrument)|Taal]] – Indian cymbal (clash cymbal)