AN EDUCATION PUBLICATION FROM THE ZILDJIAN COMPANY

our first interactive score magazineWe are excited to bring you our first multi-media companion Score Magazine. Everything you see in this issue will be replicated digitally online at zildjian.com/score, and most articles will include an in-depth video to continue the story that begins here in print. Look for this icon throughout the magazine for those articles that will continue on zildjian.com with either an interview or a lesson. Click the mouse to bring these pages to life.

In addition, each of these videos will be available in the iTunes stores as podcasts. So download your lesson and take the Score Magazine into your practice room. Its like having your own private instructor...rewind and play as needed!

zildjian pro networkZildjian is extremely proud of its relationship with some of the finest educators, players, and musicians in the world. And we are very fortunate that they share the same passion for helping you find your musical voice as we do. We refer to them as our Pro Network. And in this issue, youll have access to some of the world leaders in the field of Marching, Orchestral, Drumset, Education and Conducting. Lucky you.

fun factsFace it...we all need an ice breaker at a cocktail party! Find bits of lesser known information scattered throughout the pages. Use them to impress your friends and colleagues, stump your teachers, or get the party started...OK - maybe theyre not that much fun...

the zildjian team

Thisissue

On The Cover / Inside Cover: Cynthia Yeh, Chicago Symphony Orchestra (photos by: Todd Rosenberg)

Graphic Design: AnnMarie Sanfilippo

1. Keith Aleo, Director of Education and Orchestral Activities, 2. Lisa Fazenbaker, Education and Orchestral

Assistant, 3. Neil Grover, Educational Consultant, 4. Anders strand, International Education and Orchestral

Consultant, 5. Al Moffatt, Marching Field Consultant

contents:02 | EDUCATION & OrChESTrAL WOrLD 04 | hArD COrPS & hEAvy METAL 06 | SOUND ADvICE 10 | CyMbAL GLOSSAry 12 | rECOMMENDATION GUIDE 14 | WhATS NEWS 16 | SOUND ChOICES FOr yOUr INDOOr CyMbAL LINE 20 | ThE MAGIC OF TChAIKvKLyS CyMbAL PArTS 24 | DrUM SOLO 28 | CrASh COUrSE 32 | INSPIrATION 36 | FrOM WhErE ThEy STAND 40 | KErOPE ZILDjIAN SChOLArShIP 41 | MEMOrAbLE MOMENTS

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1. Marco Minnemann (Independent), 2. Steve Fidyk (Temple University), 3. Neil Percy (London Symphony Orchestra) at the University of Innsbruck, 4. Student with the SCOrE magazine learning to tie a hand cymbal knot.

5. Stephen Quigley (royal Academy of Music and royal Philharmonic Orchestra), 6. Tommy Igoe (birdland big band/Lion King) at the Interlochen Arts Camp Percussion Institute, 7. Will james (St. Louis Symphony Orchestra), 8. Allan Watson (Australian Opera and ballet Orchestra).

WorldEducation & Orchestral

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1. Thom hannum (University of Massachusetts), 2. Lorenzo hart and students of the Southern University Marching band, 3. Indiana University Marching hundred.

4. The Cadets Drum and bugle Corps, 5. blue Devils Drum and bugle Corps, 6. University of Alabama Million Dollar band, 7. Eastside Fury (WGI).

Hard Corps & Heavy Metal

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drums

j Snare Drum

k Mounted Toml Floor Tomm Floor Tomn Bass Drum

cymbalsessential set up

a Zildjian HiHats 12-15b Zildjian Crash or Crash Ride 16-20c Zildjian Ride 18-24

cymbal addons A great way to add color and texture to your set up. The following A Zildjian models are pictured here.

d 18 Medium Crashe 14 Fast Crashf 12 Fast Splashg 16 Thin Crashh 19 Rock Crashi 20 China High

drumset cymbal set up

cymbals 101

cymbalanatomy

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1 profileDegree of curvature from the bell to the edge. The profile of a cymbal affects its pitch and overtones. Higher profile cymbals will be higher in pitch and have fewer overtones. Flatter profile cymbals will be lower in pitch and have more overtones.

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taperDegree to which the cymbal changes in thickness from the bell to the edge. The design of the taper will contribute to the overall sustain and articulation of the cymbal.

bellThe raised area in the center of the cymbal. The bell or cup determines the amount of overtones and sound projected by a cymbal. A larger bell will produce more overtones and sustain, providing longer full-bodied sound. A smaller bell will produce less overtones and sustain, providing more articulation.

5 edge/crash areaThe outer edge of the cymbal that responds the fastest. Used by drummers to produce an instant crash response and to produce the warmest sound when played with soft mallets for a suspended cymbal effect.

4 ride areaThe area between the edge of the cymbal and the bell. Sound from this area does not open up immediately when struck, making it easier to produce a more pronounced rhythmic or ride pattern.

read through these pages to get some sound advice from the Zildjian Company on cymbal basics. From drumset cymbals to concert and marching crashes, these pages will enlighten you on one of the oldest instruments known cymbals! Also check out the linked educational videos throughout these pages they bring the SCOrE magazine to life.

Sound Advice

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cymbals 101

standard concert grip

standard marching grip

short crash1 2 3 4 5

(1) Preparation (2) Attack/Single Stroke roll (3) Muffle / Dampen

suspended cymbal roll1 2 3

long crash

(1 & 2) Preparation (3 & 4) Attack (5 & 6) release

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hand cymbal knot

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strike a gong

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concert crashesstandard

marching crashesstandard

as demonstrated by the Santa Clara Vanguard

Click the mouse icon above on zildjian.com/score to watch the Santa Clara Vanguard demonstrate the following crashes in both full and half speed! Download the podcasts on iTunes and take them to practice with you!

set position pistol positions flat crashorchestral crash full orchestral crash port crashcrash choke crash-crash choke crunchsizzle sizzle-press taptap-choke ding zingsuck sizzle suck clickscratches swoosh roll

the art of finger cymbals

Pinch elastic straps to grip

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Strike edge to inner surface

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Strike outer edges together

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Never play like hand cymbals

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1. Warm-up gong by lightly tapping near edge

2. Prepare using appropriate 3-12 upstroke

3. Strike gong just off center 4. Mute using left h

and

8 | TO LEArN MOrE AbOUT CyMbAL ChArACTErISTICS, GO TO ZILDjIAN.COM/SCOrE TO SEE AN EDUCATIONAL vIDEO by KEITh ALEO.

ZILDjIAN.COM/ SCOrE | 11

cymbals 101

the definitive cymbal

Prep any motion done before any particular crash.

Ride Cymbal a cymbal to execute rhythmic patterns. Primarily used in more popular music.

Rebound any motion done after the initial impact of any particular crash.

Scratching a cymbal effect created when the tip of one cymbal is moved up and down on the underside of another cymbal. This creates a sound similar to scratching a record on a turntable.

Secco dampen the cymbal.

Sizzle Cymbal a cymbal with metal rivets installed in predrilled holes. The cymbal produces a sizzling or buzzing type of sound as the cymbal continues to vibrate.

Sizzle Crash a sustained sizzle sound is created when the plates lightly remain together after impact.

Sizzle Suck see fusion crash.

Slam forcefully crashing two cymbals together from a short distance. This creates a choked sound. Primarily a marching technique.

Slide a marching technique that combines a crash, a sizzle, and a vacuum. After two cymbals are struck and held for a sizzle effect, the cymbals are pressed together to create a vacuum. This chokes the sound.

Sock Cymbals hihat cymbals.

Smak similar to a tap choke. Two cymbals are placed two inches from their outer edges and struck. They are dampened against the forearms. Usually played in groups of two or four.

Special Effect Cymbals instruments that produce innovative and unusual sound colors.

Splash Cymbal small cymbals, usually 612 in diameter, with a very short decay. Often dampened immediately after struck. Also, called choke cymbals.

Suspended Cymbal one cymbal mounted on a suspended cymbal stand or suspended cymbal arm with a leather strap. This term is used primarily in concert percussion playing.

Sustain the duration of sound after a cymbal or gong is struck.

Swell an increase in sound after a cymbal or gong is struck.

Tap striking the edge of the top cymbal on the edge of the bottom cymbal. Primarily a marching technique.

Tap Choke after using the tap technique, the cymbals are brought to the chest to dampen sound.

Taper degree to which the cymbal changes in thickness from the cup to the edge.

Tuned Cymbals see crotales.

Two Plate Roll striking and/or rubbing together two crash cymbals.

Twong lifting one cymbal and strikingthe underside of another cymbal in the bell area. Sometimes referred to as a cymbalscank. Primarily a marching technique.

Vacuum (1) starting with the opposite edges of two cymbals pressed together, a vacuum effect is created when the cymbals meet at dead center. Primarily a marching technique. (2) see air lock.

Vertical Crash a symmetrical motioned crash which is played in front of the body in a vertical manner.

Zilchen scrapping one cymbal against the inside edge of another.

Zils finger cymbals, usually used to accompany belly dancers.

Zings scraping the edge of one cymbal against the underside of another from the inside out in an upwards motion. Primarily a marching technique.

Zing Roll see grinds.

Fusion Crash using the hihat crash technique move the top cymbal out and bring it back applying pressure as the cymbals come back together, creating an air pocket sound. Primarily used as a marching technique.

Grinds a marching technique where one cymbal is aggressively rubbed against another. This is done by winding-up the players right hand and letting the cymbal spin freely against the other.

Gooseneck a suspended cymbal stand shaped in the form of a curved neck where the cymbal hangs from a hook.

Hammering a finishing technique used when making cymbals. The type of hammering used has a great influence on how a cymbal will sound.

Hand Cymbals see crash cymbals.

HiHat a pair of cymbals mounted, one above the other, on a stand that is activated by the players foot. Also called sock cymbals, Charleston cymbals, foot cymbals, low-boys, hi-boys, hi-socks and off-beat cymbals.

Leather Straps see cymbal straps. Let Vibrate let the cymbals ring.

LV same as let vibrate.

Low Boy the predecessor to the modern hihat.

Metal Castanets heavy fingercymbals mounted in pairs on metal handles.Ideal for an authentic sound in the bacchanale from Saint-Saens Samson and Delilah.

Overtones the sonorities produced that are above the fundamental frequency.

Plates slang for cymbals, derived from the Italian word piatti.

Plate Roll a symmetrical motion in which two cymbals are rubbed againsteach other in a circular pattern to create a continuous sizzle sound.

Profile degree of the curvature of a cymbal from the bell to the edge. See bow.

Cymbal Roll a fast succession of single or double notes on a cymbal (usually at the edge) with sticks or mallets.

Cymbal Scank taking the outer edge of a cymbal and striking the underside of the other cymbal in the bell area.

Cymbal Scrape a scraping sound achieved in two ways: (1) scraping two cymbals together from the bell to the edge. Primarily used as a marching technique. (2) scraping one cymbal with a coin or metal object.

Cymbal Straps handles that are tied with a special knot so a player can hold the cymbals for crashing together or to hang a suspended cymbal. Usually made from leather.

Cymbal Tongs see metal castanets.

Cymbal Tree an array of suspended cymbals, one on top of another and mounted on a special stand.

Dampen muffle the cymbals. Decay the reduction in sound aftera cymbal is struck.

Dome see bell.

Dry (1) muffle the cymbal(s). (2) overtones that are inhibited due to a lack of lathing or extensive hammering to limit the decay time and the amount of overtones.

Edge the outer edge of a cymbal which usually responds immediately.

Finger Cymbals a pair of smallun-pitched cymbals mounted on elasticstraps and struck together to produce ahigh pitched sound.

Flanged HiHats specially designed hihats with flanged edges that increase the contact surface and the chic sound whenthe top and bottom cymbals meet.

Flings scraping the edge of one cymbal against the underside of another from the inside out in a downward motion. Primarily a marching technique.

Flip Up/Down a motion bringing any cymbal(s) from one spot in space to another while allowing the momentum of the cymbals to rotate or flash them around the hand. Usually done with great speed.

Choked muffle the cymbal(s) with a hand, a second cymbal, or against the torso.

Choked T see smak.

Clash Cymbals see crash cymbals.

Crash Choke a crash technique where two cymbals are brought to the mid-torso immediately after crashing choking the sound. Primarily used as a marching technique.

Crash Cymbal one cymbal with a relatively short decay, used to accentuate musical phrases mounted on a cymbal stand. Primarily used within a drumset and not to be confused with Crash Cymbals plural.

Crash Cymbals a pair of cymbals, one in each hand, struck together. Primarily used in concert or marching percussion playing.

Crotale(s) small thick discs with definite pitches. Mounted on a stand either as a single instrument or within a chromatic scale (see crotale bar). They are struck with a mallet or mounted with rope and then struck against one another.

Crotale Bar chromatic mounting rack for one octave of crotales.

Cup see bell.

Cup Grind digging and rotating one cymbal into the bell of another with enough pressure to cause a grinding sound. If done correctly, many uncomfortable overtones can be produced.

Cymbal a metal plate made from analloy of copper and tin that usually has a raised bell in the center. Played individually or in pairs. Note: cymbals do not have to be round and do not have to have bells!

Cymbals attached to the bass drum see bass drum/cymbals attached.

Cymbal Pads the cushion on crash cymbals (usually made from leather or felt) around the leather straps to protect aplayers hands.

Cymbal Knot the square knot (also called sailors knot) used to secure a leather strap to a hand cymbal. See page 9.

A2 see crash cymbals.A2 Roll see two plate roll.

Air Lock 1. an undesired effect caused when a pair of hand cymbals are incorrectly struck together, resulting in the cymbals locking together. 2. an undesired effect caused when air becomes stuck between a pair of hihats causing them to lock together.

Ancient Cymbals see crotales.

Antique Cymbals see crotales.

Bass Drum/Cymbals Attached (BD/Cym.) one player playing both bass drum and cymbals. One cymbal is attached (upside down) to the bass drum with a mounting bracket and the other cymbal is held in the players weak hand. The bass drum is played by the players strong hand.

Bell the raised center of a cymbal. The size of the bell determines the amount of overtones that will emanate from the instrument. Large bell more overtones, small bell, fewer overtones.

Bow the gradual curving section from the bell to the edge of a cymbal. The height of the bow (or profile) of the cymbal will often determine the range of overtones that will occur from the instrument. higher bow emphasis on mid and upper mid range overtones, lower bow emphasis on lower and darker overtones.

Bowed Cymbal a suspended cymbal(or crotale) played by drawing a bass bow across the edge. The sound produced is a varied array of harmonics.

Bring Up/Down a direct line motion bringing any cymbal(s) from one spot in space to another. Usually done with great speed.

Charleston Cymbals outdated term used to indicate hihats.

Chick the sound produced by hihats when closed with the foot.

Chinese Cymbal a cymbal with an edge that is flanged and turned upwards. Usually the bell is more square shape than a normal cymbal. Chinese cymbals produce a pangy and funky sound and are often times mounted upside down on a cymbal stand.

Glossary

10 | WhAT DOES ThE NAME ZILDjIAN STANDS FOr - ZIL: CyMbAL, Dj: MAKEr, IAN: ArMENIAN SUFFIx FOr SON OF.

BAND / ORCHESTRAzbt band pair14 ZbT14bP16 ZbT16bP

zbt crash16 ZbT16C

DRUM SETzbt 4 box set zbtb4pincludes 13 hihats (pair)14 Crash18 Crash ride

BAND / ORCHESTRAconcert stage pair16 A0444

classic orchestral suspended16 A0417

zht band pair18 ZhT18bP

MARCHINgz-mac pair16 A047518 A0477

DRUM SETzht pro box set zhtp4p includes14 hihats (pair) 16 Medium Thin Crash 20 Medium ride

BAND / ORCHESTRAclassic orchestral medium heavy pair16 A0753

classic orchestral medium light pair18 A075920 A0767

classic orchestral suspended16 A0417

k constantinople suspended18 K1012

MARCHINgstadium medium pair16 A046818 A0483

stadium medium heavy pair19 A047320 A0497

DRUM SETk zildjian crash ride18 K0808

a zildjian box set a091214 Newbeat hihats (pair), 16 Med Thin-Crash, 20 Med ride, 22 Cymbal Gig bag

BAND / ORCHESTRAk constantinople vintage med. heavy pair16 K1136

k constantinople medium light pair18 K1000

classic orchestral medium light pair20 A0767 classic orchestral medium pair 17 A0781

classic orchestral suspended16 A0417

k constantinople suspended18 K101220 K1014

MARCHINg stadium medium heavy pair16 A048718 A049519 A047320 A0497

DRUM SETBig Banda zildjian fast splash8 A0271

k custom hybrid hihats (pair)14 K1224

k custom hybrid crash18 K1218

k custom hybrid china19 K1220

k constantinople medium ride20 K1016

Combok light hihats (pair)14 K0812

k dark crash thin15 K0901

azuka latin multi-crash hand & stick15 A20015

oriental china trash16 A0616

EFFECTS & ACCESSORIESLeather Straps (4 pair) P0750Leather Pads (4 pair) P075126 Traditional Gong P0499Gong Stand P0560Finger CymbalsThin (pair) P0773hand Cymbal Cradle TCCSuspended Cymbal Arm TCA22 Deluxe Cymbal bag P0733

EFFECTS & ACCESSORIESLeather Straps (7 pair) P0750Leather Pads(7 pair) P075134 Traditional Gong P0501Gong Stand P0560Finger Cymbals (Thick) P0771hand Cymbal Cradle TCCSuspended Cymbal Arm TCA22 Deluxe Cymbal bag (2) P073322 Deluxe Cymbal rollerbag P0650high Octave Crotales P0615high Octave Crotale bar P0631Crotale Carrying bag P0634Z-bag TZbAG

a custom china18 A20529

k constantinople mediumthin ride-high20 K1115

k constantinople flat ride20 K1124

EFFECTS & ACCESSORIESLeather Straps (8 pair) P0750Leather Pads (8 pair) P075122 Oriental Wind Gong P054934 Traditional Gong P0501Gong Stand P0560Finger Cymbals Thin (pair) P0773Finger Cymbals Thick (pair) P0771hand Cymbal Cradle (2) TCCSuspended Cymbal. Arm (2) TCA22 Deluxe Cymbal bag (2) P073322 Deluxe Cymbal rollerbag P0650high Octave Crotales P0615high Octave Crotale bar P0631Low Octave Crotales P0625Low Octave Crotale bar P0630Crotale Carrying bag (2) P0634Z-bag TZbAG

EFFECTS & ACCESSORIESLeather Straps (2 pair) P0750Orchestral Felt Pads (2 pair) P075622 Oriental Wind Gong P0549Finger CymbalsThin (pair) P077320 Cymbal bag P0729

STICkS / MALLETS / BRUSHESDrumsticks7A Wood Tip Natural 7AWNGeneral Orchestral Sticks GOWN MalletsWind Gong SDMWGMCymbal, Natural SDMCMN

STICkS / MALLETS / BRUSHESDrumsticksjazz Wood Natural jZWN5A Wood Natural 5AWNor 5b Wood Natural 5bWNGeneral Orchestral Sticks GOWNMezzo 1 Multi-rod SDM1

MalletsGong P0550Suspended Cymbal SDMSC

BrushesProfessional, retractable SDWbZb1or Fixed Wire SDWbF

STICkS / MALLETS / BRUSHESDrumsticks5A Nylon Natural 5ANN or 5b Nylon Natural 5bNNGeneral Orchestral Sticks GOWN

MalletsGong P0550Cymbal, Natural SDMCMN

BrushesProfessional, retractable SDWbZb1or Fixed Wire SDWbF

the zildjian sound palette

Choices in sound colors are often a very personal and subjective matter. Here at Zildjian, we proudly manufacture hundreds of products that cover a wide spectrum of musical applications. Our recommendations are general suggestions for teachers and players who need a starting point for select-ing Zildjian instruments and accessories. For additional guidance, we encourage you to seek the advice of an experienced percussion teacher, performer, or authorized Zildjian retailer. For the latest news and detailed product information, visit Zildjian.com.

K CustomRich, Dry+ Complex

K ZildjianDark, Warm + Expressive

A CustomFast, Modern + Shimmering

A ZildjianBright, Natural + Full-Bodied

Z3 Power, Projection + Playability

FXEthereal, Creative + Atmospheric

ZHTBold, Bright + Melodic

ZXTClear, Powerful+ Musical

ZBTCrisp, Clean+ Defined

STICkS / MALLETS / BRUSHESDrumsticksjazz Wood Natural jZWN5A Wood Natural 5AWNor 5b Wood Natural 5bWNGeneral Orchestral Sticks GOWNMezzo 1 Multi-rod SDM1Mezzo 2 Multi-rod SDM2Timbale Sticks TbWN

MalletsGong P0550Suspended Cymbal SDMSC

BrushesProfessional, retractable SDWbZb1or Fixed Wire SDWbF

&JuniorHigh

MiddleSchool

HighSchool

&CollegeUniversity

ElementarySCHOOL

The Guide choosing cymbals, drumsticks, and accessories for your schoolcymbals 101

Whatszildjian professional crotales. After years of research, Zildjian is proud to announce the release of its Professional Crotales. These instruments are made in the U.S. from Zildjians famous 80% copper/20% tin content bronze alloy. Each note is hand selected for sustain, vibrato speed, and vibrato prominence.

Once selected, the sets are sonically matched to the highest standards to produce an instrument that is cohesive and balanced throughout both octaves. Each notes hub size is proportionally scaled to provide greater sustain, especially in the high octave. Tuned to A-442, they are available in sonically matched high octave sets, low octave sets, and two octave sets.

News

crotale bag. Zildjians new Crotale Carrying Bag offers greater protection and works with both the old and new Zildjian Crotale Bars. Made from weather resistant synthetic nylon and featuring a heavy duty zipper.

crotale bar. The new Zildjian Crotale bar is stronger than ever and offers the player numerous improvements. First, a sturdy duel mounting system allows you to use practically any conventional cymbal stand. The low octave C natural mount is now removable to allow for a seamless set up when both octaves are played side by side no more double middle Cs! If you prefer to stack the octaves, simply put the C mount back on and stack them.

philharmonic cymbal straps. Designed in conjunction with Thomas buddy hofs, percussionist in the Stuttgart State Theater, these straps are professional quality in every respect. Completely different from other cymbal straps, they offer an exceptionally comfortable feel, more control, and more cymbal sustain. Made from high grade chamois and nylon webbing, these straps can also be used on the Zildjian Cymbal Arm (part#:TCA) for cymbal suspension.

russet leather cymbal handles and pads. The new Zildjian Cymbal handles offer a sturdy and full feel for use by both student and professional players. They are made from strong synthetic leather to reduce tearing and fraying. They come in a natural color and can be paired up with the new Zildjian russet Leather Pads. These pads are smaller (3.5 in diameter) to reduce muffling, yet they are large enough to keep players hands protected.

WATCh NEIL GrOvEr AND KEITh ALEO TALK AbOUT ThESE NEW PrODUCTS ON ZILDjIAN.COM/SCOrE | 15

Sound Choices for Your Indoor Cymbal Line

Making

rob ferguson,Percussion Caption Head and Arranger - glassmen Drum and Bugle CorpsDirector - Matrix Indoor Percussion EnsembleWhen making cymbal choices for Matrix, a part of the decision is based on the specific show and individual musical needs. however, a great deal of the selection remains the same year to year as I become more and more accustomed to a specific sound palette as I write. Our marching cymbal line choices change year to year, depending on the size of the cymbal line and the style of music in the show.

In the 2010 production, we were using a great deal of sizzles and longer sounds, rather than fortissimo crashes, so we used a variety of the Classic Orchestral Medium heavy hand Cymbals. Once we choose the type of cymbals we are going to use for the cymbal line, the sizing choices are mostly made by the individual size of each performer in the cymbal line. With the intense visual demands, it is important that each player is using a size of cymbal that allows him or her the most control while still having a fullness of sound from the entire cymbal ensemble.

In our front ensemble, much of the cymbal selection remains the same. As I write, I have a good idea of what each player will be using, so I account for that in composition rather than after the fact. We use a combination of K Constantinople Suspended Cymbals and Classic Orchestral Suspended Cymbals as our main suspended cymbals. For a secondary suspended cymbal, we use a great deal of the new A Custom rezo Crashes as well as some of the K Dark Series. Our rack Percussionist is mainly there for support and effects, so he/she uses a variety of Suspended Cymbals as well as a number of sizzle cymbal options like the Armand Series beautiful baby ride, and a K Custom Dark China with rivets. In addition, we use a variety of Splashes and Chinas, (mostly the Oriental Trash Series), as well as some cymbal stacks we have began to use over the past few years. With the stacks, we have had great success mixing a variety of the new EFx Crashes, and we have laid them on top of a slightly smaller Oriental Trash China or K China.

With the variety of options Zildjian offers, the sound I am looking for is never hard to find.

Pictured Left: Brittany Walko: Walled Lake Percussion Scholastic World Line, Walled Lake Percussion Group, Walled Lake, MI. (photo by: Dave Mexicotte).

tom aungst,Percussion Caption Head and Arranger-Blue Stars Drum and Bugle CorpsPercussion Director-Dartmouth High School, Dartmouth, MAWhen deciding on cymbals for marching band or indoor percussion, I always look for a darker sounding cymbal. For the past few years the marching cymbal players at Dartmouth high School have used the 18 Medium Light Classical Orchestral Cymbals. I love the long dark sounds they get; and for me, they are user friendly. This line of cymbals is one of the best for students or inexperienced cymbal players to create a great sound.

Again, I like a rich, dark sound for cymbals used in the front ensemble, such as the Classic Orchestral Suspended Cymbals, or any of the K Constantinople Suspended Cymbals. One of my favorite special effect cymbals is the 20 Oriental Crash of Doom! I use it as an effect cymbal as well as a suspended cymbal for a big sound.

joel mccauley, Battery Cymbal Technician, Music City MystiqueAt MCM we demand the best from our members and from our instruments. I need a cymbal that blends perfectly with our ensemble regardless of the venue we are playing in. The mid-range sound of the Symphonic viennese Tone is exactly what I want when choosing a cymbal that helps define the Mystique sound. Zildjian is the only choice for MCM, period.

meagan hills, Front Ensemble Caption Head, Music City Mystique The front ensemble at MCM is always looking for endless possibilities when it comes to our creativity of sound. We choose Zildjian for its incredible selection. We are also looking for a very specific ensemble sound that can only be achieved by the warm dark sound of Zildjian cymbals. We are specific in our choice of cymbals within the ensemble and very specific with the brand we choose.

brian mason,professor of percussion, moorehead state universityformer caption head, santa clara vanguard, phantom regimentand the cavaliersCymbal colors are an important part of Drum Corps and especially the Santa Clara vanguard. The sounds the pit produces are often taken for granted amazing effects can come from suspended cymbals, effect cymbals like the ZIL-bEL, and gongs. Additionally, SCv is one of the few corps that uses a cymbal line. As an arranger, its fantastic to get cymbal sounds like scrapes, port crashes, and zings from the back ensemble.

the size and strength of the performers (ex. jhs vs. hs)Keeping it simple, smaller kids need smaller cymbals. I keep my choices limited to 18, 19, and 20. however, some kids may have to compromise their comfort due to my unison approach. That is, all performers within the same line have the same type and size of cymbal.

the venues in which well be performing (ex. indoor vs. outdoor)Indoors, I am less concerned with projection than I would be for an outdoor performing ensemble. Keep in mind that you will probably want to approach the composition differently to compensate for the type of cymbal whose sound characteristic may be working against you in your particular environment.

the characteristics of the music well be performing (ex. orchestral vs. jazz)Is the music dark, light, or a little of both? Will there be a need for cymbal rides? Will the cymbal line be used mainly for impacts or more for texture and color? how you answer these questions can greatly affect your choice.

While keeping all these considerations in mind, the goal should always be to choose a hand cymbal that fulfills the needs of the composition with the least amount of compromise.

zildjians pro network | MArChING

mike jackson, Percussion Caption Head & ArrangerBluecoats Drum & Bugle CorpsRiverside Community College Percussion EnsembleDirector Mission Viejo HS Percussion EnsembleWhen choosing hand cymbals for a marching cymbal line, there are several things I consider:

the quantity of performers The more cymbal players I have, the less concerned I am about choosing a louder cymbal. In a line of three (or less), I may consider projection as a top priority.

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Tchaikovskys cymbal parts are magical but how do you get a grip on them?

daniel kse,royal philharmonic, stockholm

Tchaikovsky cymbal parts are some of the most exciting, challenging, and colorful cymbal parts I play in the royal Stockholm Orchestra. These cymbal parts are relatively exposed and an important part of the orchestral mix. Something like the subtle crashes in the Nutcracker Suite are not to be overlooked as well as the powerful parts in his symphonies. Work to create different sounds with the same pair of cymbals and use several sizes and weights of cymbals for all his parts.

Cymbal Parts

MagicThe ofTchaikovskys

matt strauss,houston symphony orchestraoverture to romeo and juliet.Cymbal players have the potential to add tremendous depth and color to the symphonic repertoire. It is up to them to achieve this magical goal through thoughtful consideration of the music and by creating an arsenal of sounds at their disposal. however, choosing the correct instrument(s) for a cymbal part can be overwhelming given the wide range of compositional styles, varying schools of thought, and abundance of instrument options on the market today.

Lets examine the process in which the thought of a simple sound is transformed into a fully developed and meaningful musical color. Lets prepare the cymbal part for Tchaikovskys Overture to romeo and juliet.

a. what do you know about this music?Tchaikovsky, a romantic russian, often wrote virtuosic cymbal parts to enhance the dramatic effect on the listener. Unique to this piece is the infamous passage at reh. E and later repeated at reh. O. In this part of the music, Tchaikovsky composed syncopated rhythms containing very short notes to be played in unison with the brass section. This overture, like most of his works, is scored for a full symphonic orchestra.

b. describe your desired sound.These sharp and syncopated crashes need to speak quickly while maintaining both a full body and brilliant color.

c. experiment with different cymbals and techniques.Choose a pair of cymbals that most convincingly offers the sound qualities outlined in the previous step. The Zildjian 18 K Symphonic are an excellent choice for this piece, given their sharp attack coupled with their well balanced sustain. These cymbals are thicker than most and need to be played in a particular manner. Always begin each crash with both cymbals positioned at

slightly different angles. This will lessen the chance of hitting any air pockets. however, too much of an angle might produce two separate sounds (flam). Cushion each crash by limiting tension in the wrists at the contact point.

It is also important to develop a firm understanding of knowing when to manipulate the release of each crash. Keeping the cymbals together too long might result in a dull attack while lessening the presence and brilliance of each crash. Pulling the cymbals apart too quickly might produce a thin or shallow sound. The player must also consider the quick duration of each written note. For consistent and clean muffling, execute each crash very close to the torso. Efficiency is paramount.

d. practice correctly.be sure to use a set of headphones along with a metronome to guarantee an accurate connection with the beat. It is far too common for players to perform a cymbal part with imperfect time because they were solely focused on perfecting the sound quality of each crash. before picking up the cymbals, it is advantageous to simply clap the excerpt along with the metronome at a slow tempo. It is also helpful to hear the eighth note subdivisions as well as an additional click sound on beats one and three. Gradually bump up the tempo until you reach the desired performance speed. Quarter note = 138 is a good audition tempo. Once the excerpt is played accurately and consistently at the performance speed, eliminate the eighth note subdivisions on the metronome. This step should be followed by setting a click sound only on beats one and three. by feeling this passage in half notes instead of quarter notes, the player will have an easier time placing the crashes correctly. Time and crash consistency can be easily checked by often using a digital recorder.

Through methodical preparation, an unyielding desire for perfection, and a strong love for the music, a cymbal player can truly add a special element to a symphonic ensemble.

FOr A vIDEO LESSON FrOM MATT STrAUSS, GO TO ZILDjIAN.COM/SCOrE | 21

tchaikovsky - symphony no. 2 in c minor, op. 17*

1. David Fishlock, 2. Matt

Strauss, 3. Jeremy Branson.

* This part looks simple, but get a recording to see how fast it flys by!

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david fishlock, cincinnati symphony orchestratchaikovskys fourth symphony.When I think of Tchaikovskys Fourth Symphony, the first question that comes to mind is what cymbals am I going to use for this? I think 20s are the appropriate size for this excerpt, ideally something fairly thick and heavy with a punchy attack. however, we do have to be able to lift them! I use a pair of 20 A Zildjian Classic Orchestrals. The passage that is most asked in auditions is 16 measures after reh. letter h to the end. however, the hardest part of this movement is the very first note. After the soft ending of the 3rd movement, conductors usually want the fourth movement to be attacca, and they want that first note to explode out of nowhere. Oftentimes, there is no chance to prepare the stroke, and I find that to be one of the more challenging types of notes to play: those notes for which we are unable to prepare physically, because its hard to stay loose. I for one end up tending to lunge for the note.

little cymbal parts.Dance of the Mirlitons from Tchaikovskys Nutcracker ballet has a wonderful little cymbal part in it its not as easy as it might look on the page. I like something with a crisp attack but without a lot of spread. I use two different sizes of cymbals in my left hand I have a 14, while my right-hand cymbal is a 15. These two cymbals just happened to pair up nicely, and it poses no problem that they arent exactly the same size. Oftentimes when I play soft crashes, I try to get a little sizzle, which is when we let the cymbals stay together for a brief moment to soften the attack. In this passage, however, I think its more appropriate to go for more of a ching sound.

romeo and juliet.One of the most often-asked cymbal excerpts is from Tchaikovskys romeo and juliet, specifically the passage from two before reh. letter O to eight before reh. letter P. Now obviously, in this passage we want the cymbals to imitate a sword fight, so we have to give some thought as to what type of cymbal would best achieve that sound. I like to use something bright, with a lot of attack; however, we get to play three big crashes at the end of this passage, so we have to choose something that will open up nicely for those crashes at the end. I like to use the 18 K Symphonic Cymbals. The main goal with this excerpt is to play each crash perfectly in rhythm and consistent in sound quality with all of the others.

jeremy branson, pittsburgh symphony orchestraWhen I think of Tchaikovskys writing for cymbals, I usually think of his Symphony #4 and romeo & juliet Fantasy. These cymbal parts are challenging and fun to play, but there are other works of his that deserve equal study and observation.

Symphony #1 (Winter Daydreams) and Symphony #2 (Little russian) both have precarious passages in the fourth movement that require serious focus. Quarter notes are on the page, but they fly by as if they were eighth or sixteenth notes. A lot of thought should also be given to when and how these crashes should be muffled. being sensitive to the low brass and horn section will help guide you through your choices of a quick muffle or a more tapered approach.

Along the same vein, the cymbal part in the Danse hongraise in Act. 3 of Swan Lake requires much more thought than just whats on the page. Proper muffling, lengths of crashes, and dynamic subtlety are important to blending with the ensemble. Taking the time to study this part will really give the Czardas a gypsy flare.

Capriccio Italien has some beautiful opening crashes that deserve really big, open, and optimistic sounds that conjure up images of a sun rise. I use the 22 A Zildjian Classic Orchestral Crash cymbals for this passage.

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...AND SPEAKING OF TChAIKOvSKy, AFTEr ThE PrEMIEr PErFOrMANCE IN 1877 OF hIS SPECTACULAr FOUrTh SyMPhONy, ONE rEvIEWEr CALLED ThIS SyMPhONy A SLEIGh rIDE ThrOUGh SIbErIA. WAS ThAT rEvIEWEr WrONG!IV

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drum solopeter erskine,weather report, jazz drummerMusic is SOUND. An onomatopoeia is a word that imitates or suggests the source of the sound that it describes. The names of cymbals do a good job of describing their sound as well as purpose: a splash or crash cymbal designation suggests the sound or sensation of water, while a ping or ride cymbal name does a good job of indicating what that cymbal is good for.

Same goes for the Left Side ride I helped design along with Zildjian. but dont ask me what a China boy is supposed to do.

In any event, or in a SOLO event, all of your cymbals can and should come into play for tonal color and excitement as well as for time propulsion, etc. In the case of crash cymbals, I like to play them (during the course of a tune or a solo) without the accompaniment of a snare or bass drum accent. In other words, I like to play and hear my cymbals on their own! Thats when the true beauty of a splash or crash sound comes through, and the music is buoyed by the water-like sound sensation of shimmering metal without the punch of the drum.

So, I recommend that you get to know your cymbals: take the time to explore their sound, individually and then collectively. And remember: any instrument that vibrates will ring or sustain only as long as you allot it toas soon as you stroke it again, youre stopping or changing the sustain. Thats why I concentrate on playing slower than I might otherwise think I need to. In other words: solos dont always need to be about speed. A solo should ultimately be about SOUND.

24 | GENE KrUPA ASKED AvEDIS ZILDjIAN TO MAKE ThINNEr CyMbALS FOr ThE DrUM KIT. hE ADvISED AvEDIS TO MOvE AWAy FrOM ThE hEAvIEr MArChING CyMbALS, POPULArIZED IN ThE TUrKISh MArChING bANDS.

How do Cymbals Come into Play?

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steve houghton,indiana university jacobs school of musicThe cymbals can play an important role in developing a drum solo. Soloing is a completely individual experience and there is no set formula for a good solo. however, there are certain musical elements that should be in place for a solo to hold the listeners interest and smart cymbal use is fundamental. The following is a list of musical strategies that can be utilized through the use of cymbals.

themes / ostinatosCymbals can be utilized to state a musical theme in a solo. If the soloist plays a rhythm or melody on the cymbals before striking the drums it provides a solid foundation for development. There can also be stylistic themes played on the cymbals, like a jazz ride pattern or an Afro-Cuban bell pattern. Cymbals can also be used to create rhythmic ostinatos which allow the player to solo over a rhythmic structure.

sustain / colorsOne obvious musical benefit with cymbals is that they can provide a sustained sound which contrasts nicely with a staccato drum sound. Each and every cymbal has a wide variety of colors available when played in different striking areas. Cymbals played with sticks

terri lyne carrington, berklee college of musicI dont solo a whole lot on my gigs because I feel that I solo when everyone else is soloing. That being said, my cymbal sound is integral to the total sound of my kit when soloing or not.

I use them during solos in several ways. Sometimes I do a comping solo where my ride and ride pattern are featured along with accents from the drums. I use them, like most everyone else, as punctuation marks at the end or beginning of phrases. Sometimes I will just play cymbals, creating melodic phrases from the tones of the cymbals alone. And of course, they are used to help create the climatic and generally louder end to a drum story.

but for me, mostly cymbals create many colors and textures, from the bell to the edge, making a very personalized sound that comes from the marriage of the actual cymbal and the touch - articulation control, technique and stick. This is not separate for me when playing with others or when soloing because it is the biggest part of my playing and sound. I try to make the cymbals and drums have one sound, the metal and skins carefully balanced so the ear hears one instrument not two. Also, I often treat the closed hihat like another tom when soloing. And I play the edge of the cymbal to create a soft percussive sound with light overtones.

casey scheuerell,berklee college of musicCymbals give the drummer the ability to paint. Each cymbal is a color in his/her pallatte. Sticks, mallets, and brushes in combination with dynamics, effects, and cymbal selection, provide an endless variety of tone, texture, subtlety, and expression.

The cymbal gives us a way to sustain a sound. When used in the background, as in the case of a ride cymbal or ostinato bell pattern, the chosen rhythmic drone provides a canvas for our lead voices, created on the remaining components of our drum set.

Sometimes solo shifts happen rapidly. Cymbals swell and diminish, surprise and delight, providing splashes and swathes of vibrant color.

Cymbals are fascinating. Works of art in their own right. I never met a drummer that had enough cymbals. We continue to add colors to our arsenal of sounds, always searching for the elusive perfect cymbal. Indeed, playing cymbals is one of the great joys of being a drummer.

1. Steve Houghton, 2. Casey

Scheuerell, 3. Terri Lyne Carrington.

4. Ed Soph (photo by: Fotos by Folletts).

KErOPE ZILDjIAN IS ThE OrIGINATOr OF ZILDjIANS K LINE OF CyMbALS. KErOPE PrESIDED OvEr ONE OF ThE MOST STOrIED PErIODS IN ZILDjIAN hISTOry, 1865-1909.

ed soph,university of north texasAssuming that soloing means playing by oneself, theres no limit to what you can do with cymbals. The only limitation is your imagination!

Try soloing on one cymbal. Explore the sounds from the cup to the edge and see if you can actually create a structured tune using the sounds. Dont restrict yourself to sticks.

Cymbals are often used in solos to punctuate drum accents. but cymbals can also be used in a dialogue with the drums. Ask a question with the cymbal(s) and answer it on the drums. Start with long statements played softly and gradually create shorter and louder statements as though the drums and cymbals are having an intense conversation. reverse the process, making the phrases longer and softer, and complete your solo in the manner in which it began.

Another approach is to play two cymbals, using one for a ride pattern and another for what would usually be the snare drums comping figures in a jazz style. Gradually incorporate the snare by playing some of the snare cymbals notes on the drum. your vocabulary will sound brand new!

For general musical guidelines, always have form and dynamics in mind when soloing. Create themes and improvise on them. This way your solos will be just as musical as those played by melodic instruments.

provide a familiar sound but this is multiplied ten-fold when using brushes, mallets, or other brush/stick combinations.

If the player is creating a visual image with the cymbals, this can easily be created with the proper tool. For example, waves with mallets, wind with brushes, and a thunder storm with sticks.

punctuation / intensityCymbals can be used to punctuate a solo with strong accents as the solo develops. While the drums can be used to provide intensity and thickness, the cymbals can put the finishing touches on any solo. Splash cymbals and EFx cymbals can be effectively used to punctuate different parts of a solo with their short and precise sound quality - perfect for delivering added intensity to certain ideas or clear punctuation to different sections of the solo.

voices / texturesIve always viewed the drumset as a multiple percussion setup. In that way, cymbal use isnt restricted, such as ride Cymbal or Crash Cymbal. I think of each cymbal as an individual voice or texture. The cymbal voice may be high - low, long - short, or pretty - nasty. A good example of the latter texture would be a K Flat ride vs. an Oriental China Trash.

there are certain musical elements that should be in place for a solo to hold the listeners interest... - Steve Houghton

I never met a drummer that had enough cymbals. - Casey Scheuerell

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Crash Course

The first step in making music with cymbals is to remember that these are instruments with a very long and proud history. Consider this with every note you produce. - Sherry Rubins

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how good is your cymbal sight-reading?john tafoya,indiana university jacobs school of musicSight reading is an important part of learning and auditioning. One of the preeminent service bands in the Washington, D.C. area would include cymbal sight-reading during the final round of auditions. After performing Scheherazade, Porgy and Bess, and other high profile excerpts at a high level, many candidates had difficulty playing a simple etude on cymbals.

Take a look at the cymbal exercise on the next page and see if you would have what it takes to successfully perform this etude.

michael burritt,eastman school of musicI often find that young students are somewhat intimidated and uncomfortable when it comes to their cymbal playing. Most incoming freshman have spent hours working on the r and rs of percussion, snare drum, mallets, and timpani. but when it comes to cymbal crash technique, they have spent very little time, especially in relation to these other areas. There is usually some kind of concept in place that was learned from a clinic or a brief summer seminar that was unfortunately not followed up on and rehearsed. The students approach, physically and more important, aurally, is not nearly as developed as the other aspects of their percussion skills.

The first thing I try to do in the initial lesson is bring in some kind of commonality between crashing cymbals and other aspects of their training. For me, this starts with holding the straps. I suggest that they think of the straps much like sticks and use a grip similar to their snare drum technique. Of course the straps will give and react much differently than sticks; but to me, the overall concept of fulcrum in the two areas is quite similar. This helps with what I like to call the wrist drop. It places more of the weight of the cymbals in the same place as the fulcrum of your snare drum grip. Essentially between the thumb, index finger, and middle finger. The rest of the hand contributes to gripping the cymbal strap, but not to the extent that the fulcrum point does. This puts more of the control in your hand closer to the cymbal. This enables you to have better command of the angles in your crash and makes the wrist movement more intuitive.

Once the cymbals are in their hands I have the students practice the wrist/arm drop by crashing the cymbal(s) off the floor. I stress getting a good crash while doing this exercise. by dropping the cymbal to floor, the student is getting a sense of two significant concepts:

1. The idea that they can control the cymbal through the use of wrist and arm, not just arm.

2. The key to getting a good quality sound has a great deal to do with using the weight of the cymbal and not their own force or strength. The most pure and beautiful sounds made by these instruments are accomplished through a very natural and comfortable movement that allows the cymbal weight and size to create the sound. Of course this kind of technique takes time to develop, but its the understanding of this approach that I try to impress upon the student in the initial lesson.

Then comes the actual bringing of the cymbals together to produce the crash. Early on I try to simplify their technique by having students move only one cymbal to create the crash. It should be the players stronger, more coordinated hand. Lets go with righties for this lesson. The left hand cymbal will be stationary at about a 45 degree angle while the right hand cymbal, in this case the moving cymbal, will be at a slightly greater angle. Lets say 30 to 35 degree as an estimation.

I then have the student drop the right hand cymbal into the left at the opposing angels creating the traditional flam attack in the crash. It is also important at this point to demonstrate the role of your legs in the crash. I position my left leg slightly forward, supporting my stationary cymbal. I believe this helps with balance and saves in back strain.

I have the student begin by leaving the cymbals together at first (after the crash), creating a sizzle sound. This helps them get used the weight of the instruments and to develop a consistent dropping angle. Eventually they pull the cymbals apart after the crash. (Initially pulling the right hand up and dropping the left hand down, or away, following the crash.) Students should repeat this many times until they get a consistent sound and become comfortable with both the weight and movement of the instruments. These crashes are at moderate mf dynamic levels. Working on bigger and softer crashes comes later.

I always recommend that my students practice cymbals for short periods of time following longer sessions on other instruments. I do not recommend cymbal practice at the beginning of sessions because it can be difficult to move to other instruments after an extended cymbal session.

happy Crashing!

Michael Burritt

30 | AvEDIS IIIS FAThEr, hArOUTUNE, DECLINED TO TAKE hIS rIGhTFUL PLACE AS hEAD/PrESIDENT OF ThE ZILDjIAN CO. hE ChOSE INSTEAD TO bECOME AN ATTOrNEy AND ENTEr POLITICS.

from how good is your cymbal sight-reading?

lalo davila, middle tennessee state universityThere are three cymbals that fit into my set up nicely even with limited room on stage, I always have these readily available.

The first one is the 15 Azuka Latin Multi-Crash hand & Stick. A great cymbal for accentuating the ensemble around me, I can usually kick off any high energy band with this cymbal. It works well doubled with the high or low timbale too. Whats nice about this cymbal is that I can use it with sticks and my timbale set up or, it works great in my conga set up where I play the Azuka with my hand.

The second cymbal is the 17 El Sonido Multi Crash ride - I will often play a cascara groove (see music below) on the shell of the timbale with my right hand and the clave pattern on a Pearl block with my left hand. At the bridge or other appropriate section, Ill switch to playing the cascara groove on the El Sonido in my right hand to really drive the band.

For a slightly darker sound, I prefer to use the 17 K Custom hybrid Crash this is a great cymbal for both a crash and a ride. It has great stick definition and really cuts in a salsa band with a huge horn section.

"Cascara"

"2-3 Clave"

LH - Wood Block

RH - Shell of drum or Cymbal

Lalo Groove

cascara

cymbal etude

1. Sherry Rubins, 2. Gwen Burgett Thrasher, 3. Lalo Davila.

sherry rubins, university of texas, san antonioThe basics of a crash start with the straps, go to the grip and end with the actual crash! The grip on the strap is similar to your basic percussion grip. Gently pinch the thumb and first finger between the 1st/2nd knuckle, then wrap the rest of your fingers around the strap and pick up the cymbals. Center your weight by standing with your feet about shoulder width apart.

Take one cymbal in your weaker hand and turn it at a slight angle. Think about the flam rudiment a grace note before the main note. Thats what we want to hear in a good crash. If you connect the cymbal edges at exactly the same time you will get what is called an air pocket which is not a desirable sound.

basically drop the top cymbal onto the stable bottom cymbal. This is a nice way to begin. however, as you start to feel more comfortable; and in order to get a fuller sound, you will want to start moving the bottom cymbal in conjunction with the top so they meet in the middle.

The stroke should be effortless never work too hard with cymbals. Take your time and never be afraid to practice cymbals!

gwen burgett thrasher, michigan state universityI have heard many wonderful cymbal crashes played by people with entirely different techniques. however, one common trait of all of these crashes is that they involve some type of flam between the two cymbals.

When teaching cymbal crashes, the first and most important thing I try to teach my students is that the crash needs to include a flam. If all sides of the cymbal hit at the same time, the sound will be flat, thin, and likely produce an air-pocket. Many students are afraid that their flam is going to be too wide, but that is usually not the case. I tell them that if they can clearly hear two attack sounds, then the flam is too wide. Otherwise the flam will just add depth and color to their sound.

One of the easiest ways to start teaching this is to break down the crash, having the student use just one cymbal (the r.h. if they are right-handed, L.h. if they are left-handed) and practice crashing on the floor. If they play the cymbal flat on the floor, the sound will be thinner. When they achieve a good flam, the entire cymbal will activate very quickly and both low and high overtones will be resonating. Once this sound becomes consistent on the floor, I have them crash with both cymbals using the same ideas that they were just practicing with one cymbal. When the student has mastered the concept of the flam, I then encourage them to stagger the cymbals just slightly when they crash this makes it difficult for the bells to ever be directly on top of each other, thus avoiding air-pockets. Lastly, I have found that my own crashes are darker and fuller when I use some momentum in my L.h. to combine with the flam in my r.h., so I try to add this into my students crash as well.

| 31 rAChMANINOvS SECOND PIANO CONCErTO IS ONE OF ThE MOST POPULAr PIANO CONCErTOS IN ThE WOrLD. IT ALSO hAS ONE OF ThE SOFTEST CyMbAL PArTS IN ThE OrChESTrAL rEPErTOIrE.

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where does it come from?

Inspir-ation

growing up with cymbals!danny gottlieb, university of north florida/lt. dan bandI grew up in Union, New jersey, and started my musical career by playing cello in the fourth grade. I didnt even get to the drums until I was 15, but, I do remember the sounds that influenced me along the way. My first public performance was on crash cymbals in the Franklin Elementary school band. They just gave them to me to crash. I didnt even know what they were, but I loved the sound! I also remember that I loved the sound of shoes on the asphalt outside, the sound of snow crunching as people walked, and the sound of passing trains. There was a railroad station nearby, and I remember dragging my dad out in the middle of the night so I could watch and LISTEN to the sound of the freight trains. I know that I play cymbal rhythms with that train sound as an influence.

My first exposure to cymbals came again in school. Mr. Geist (whom we still call Mr. Geist today) would play jazz recordings in detention at burnet jr. high School. We were so influenced by his teaching and the music that we would stay after school just to listen to Monk and Miles, I was, of course, attracted to the drum and cymbal sounds. but the real turning point for me was hearing the cymbals of Mel Lewis. I started studying with joe Morello (and of course heard hIS cymbal sounds, which I loved), but one day I went to the village vanguard in N.y. to hear the Thad jones-Mel Lewis Orchestra. Mels cymbal playing affected me from the moment I heard him. I asked if I could take lessons, but he told me he was too busy. I mentioned this to joe Morello, and he said get Mel on the phone. Which I did. he said, This kid loves your cymbal sounds. Would you please give him a lesson? Mel said ok, and that started a loving relationship that lasted until his passing.

I learned that Mels favorite cymbal was an old A from the 50s with two chunks cut out due to cracking. he used it on hundreds, maybe thousands, of recordings. you can hear it on the Art Pepper Plus 11 recording, the Terry Gibbs Dream band recordings, and so many more.

In 1874 Modest Mussorgsky composed his famous Pictures at an Exhibition, based on ten drawings and watercolors produced by his recently deceased friend, the architect and artist, victor hartmann.

Do you know which of these images above inspired the baba yaga movement in this majestic work? To hear jim Campbell talk about the cymbal part to this piece and how he was inspired by retired Chicago Symphony Orchestra percussionist, Sam Denov, visit zildjian.com/score.

32 | jIM CAMPbELL AND MUSSOrGSKyS PICTUrES AT AN ExhIbITION, A LIFE LONG STOry. WATCh IT AT ZILDjIAN.COM/SCOrE

john parks,florida state universityAs for symphonic playing, Patsy Dash was definitely a huge influence. I love the way she plays, and I learned so much about how cymbals should sound from her. I also learned a lot from jim ross when I used to see the CSO play while in graduate school. These were the first up-close, world-class players I knew, so it was a really formative time for me.

I was really lucky to play with the Alabama Symphony for about five years as a utility player while teaching at Samford. Later, when I was a Doctoral student at Eastman, I learned so much from bill Williams. he has a few pairs of old K Cymbals that were to die for - standing beside him in the section was quite an education.

As I continued my studies and was taking orchestral auditions and playing quite a bit, I amassed a huge collection of recordings. Two of my favorites are Philly playing Ein heldenleben and La Mer--bookspan cymbalsman, nothing in the world sounds like that. I also love Neil Percys playing with London, Frank Epstein with boston, joe Adato with Cleveland, and bill Platt with Cinncinnati. Another great experience was playing beside Cynthia yeh with the Key West Symphony before she became Principal in Chicago. her crashes in Mahler 4 were just perfect.

This cross-section of so many amazing cymbal players and their signature sounds continues to open my ears to whats possible with our arsenal of Zildjian cymbals at Florida State. I have a whole CD of nothing but my favorite cymbal players that we listen to at least once a year in studio class!

John Parks (left) Patsy Dash Chicago Symphony Orchestra (right)

Danny Gottlieb with Mel Lewiscymbal in the Zildjian Drummers Lounge. Mel Lewis image from the Avedis Zildjian Cymbal Set-ups of Famous Drummers Book.

eric renick, auckland philharmoniaMy first experience playing with an orchestra was in college at butler University. The school orchestra was playing Debussys La Mer. While playing the cymbal part, I recall having absolutely no idea what was going on. I was utterly lost. Several years later, I found myself watching the Chicago Symphony Orchestra perform the same piece with Daniel barenboim. The moment was incredible for many reasons, but the one that struck me most was watching jim ross play the cymbal part with so much control. he could have been improvising. Every sound he made blended so well with what was going on in the orchestra that it appeared as though he had memorized the entire piece. I recently ended my fellowship at the New World Symphony, performing the very same part with Michael Tilson Thomas conducting. I could still hear jims performance in my head and hope that I performed the part with half as much artistry as he.

la mer - claude debussy

julie davila, director/arranger middle tennessee state universityband of blue drum line, wgi adjudicator, caixa trio My earliest influence was definitely my Grandfather who played saxophone in town bands, big bands, and the Purdue Marching band. because music was always prevalent in my family, I was exposed to great jazz and listened to drummers like Louise bellson, Max roach, and buddy rich at an early age.

As my interest in music continued, I was heavily influenced by the Maynard Ferguson band and all of the great drummers that played for him, including Steve Gadd. hearing Gadd on one of his first recordings with the Ferguson band and later with Simon and Garfunkel made a tremendous impact on me as a student and player. My friends and I watched Gadds performance with Simon and Garfunkel in Central Park so many times we actually wore out the vCr tape!

During high school, I became interested in marching percussion and was enamored by the precision and uniformity of great drum corps. Fred Sanfords work with Santa Clara Vanguard, Dennis Delucias killer Bridgemen Drumline, and Thom hannums incredible arrangements with Garfield Cadets hooked me for life.

From my roots as a drumset player to the evolution of my interests and experiences in marching percussion and chamber work, Ive always realized the importance of choosing the right cymbal color for the right performance. Zildjian makes it easy to be at your best by offering an incredible palette. Cymbal choice can make or break your performance, and Zildjian is the only serious choice.

Hearing Gadd ...made a tremendous impact on me as a student and player.

zildjians pro network | INSPIrATION

Jim Ross, Chicago Symphony Orchestra (left). Eric with conductor, Michael Tilson Thomas (above).

Anton Fig - The Late Show with David Letterman

WATCh WhAT INSPIrES ANTON FIG by CLICKING hErE ON ZILDjIAN.COM/SCOrE | 35

Julies Grandfather, John R. Sutton is pictured front row, 2nd from right.

* Try playing Steve Gadds legendary drum intro.

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What is the ideal location of the percussion section within your ensemble?

eugene corporonFrom left to right (from the conductors perspective, facing the ensemble): celeste, piano, mallets, battery, bass drum, timpani.

keith lockhartIdeally, I like to have the timpani centered at the back of the orchestra, especially in repertoire where they provide the rhythmic backbone. Past that, Im not sure Ive ever enjoyed the ideal location for the rest of the section. Too often, the section is either stacked in the hole in one upstage corner, where they have trouble hearing and tend to be late, or spread flat across the back of the orchestra, in which case they have trouble hearing each other and trouble logistically with getting between instruments. The short answer is, for pulse instruments (snare, bass drum, timpani), they should be where everyone in the orchestra hears them at the same time.

leonard slatkinWe have the timpani in the middle with the percussion mostly located to my right. Double basses take up the left rear of the stage. If a piece requires a very large percussion section, the timpani move over to one side or the other.

mallory thompsonI think the ideal location may vary depending on the hall in which you are performing. Generally, I like timpani to the right of center from the conductors perspective (near tuba and string bass); snare drum, cymbals, and bass drum

From Where They

Stand

The conductors point of view is very different from that of the player or teacher. We asked five of todays leading Orchestra and Wind Conductors to share their perspective of the percussion section.

Pictured Left: JoAnn Falletta: Music Director, Buffalo Philharmonic Orchestra and Virginia Symphony Orchestra (photo: Jim Bust).

Above right: Keith Lockhart, Conducts The Boston Pops Orchestra (photo: Michael J. Lutch)

dead center; and mallets to the conductors left, with marimba and chimes closer to the outside to aid projection. I like to get input from my percussion section leader regarding instrument placement for specific pieces. I will often keep a copy of their setup chart in my score and use it as a point of departure for the next time we perform that work (until the next section leader has a better idea). A pet peeve of mine is when cymbals and bass drum arent near each other. Since they play together so much of the time, I like the setup to encourage them to play like chamber musicians.

joann fallettaThe ideal location of the percussion section varies from orchestra to orchestra and from hall to hall. In buffalo, we have a shallow stage and usually place percussion stage left, near the brass. but for a special piece (like revueltas Night of the Mayas), we actually construct a platform and have them stretched across the back of the stage, above the orchestra. With the virginia Symphony, the percussionists are generally placed stage right. In an ideal world, I would really like to have our timpanist and percussion section right in the center at the back of the stage, but this is rarely possible due to logistics.

36 | WATCh jOANN FALLETTA TALK AbOUT OrChESTrA PErCUSSION AUDITIONS AT ZILDjIAN.COM/SCOrE

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IN 1782, MOZArT USED ZILDjIAN CyMbALS, bASS DrUM AND TrIANGLE IN hIS OPErA ThE AbDUCTION FrOM ThE SErAGLIO TO rEPrESENT ThE POPULAr jANISSAry bAND MUSIC OF ThAT TIME.

In your experience, what makes a great cymbal player and/or cymbal sound?

eugene corporonAccuracy, clarity, and resilience. Someone who can pick the right sound for the right setting and add full support without covering the group!

keith lockhartIt may seem obvious, but musicality. It is always surprising to us non- percussionists how one person can play a certain pair of cymbals with an extraordinary range of volume, attack, and timbre, and in anothers hands they sound like garbage can lids. Knowing what sound youre going for, and knowing how to achieve it.

leonard slatkinvariety of color and willingness to experiment with different sizes for different sounds. I really do not like air pockets for crash cymbals, so cleanliness of sound is very important to me.

mallory thompsonIn my opinion, there is no sound that is the right sound in every setting -- only a sound that is right in a particular context. A great cymbal player breathes, prepares, knows what his or her role is, knows what kind of decay to create, and knows how to end the instruments resonance. It is important for a player to question the notation, particularly of a release, if it doesnt sound right.

joann fallettaA great cymbal player is the crowning jewel of an orchestra - a splash of vibrant energy that can make the difference between a good and a thrilling performance. The sound must be rich and filled with color. The best players can make the entire instrument shimmer with sound - not just a surface sound, but a resonance that taps the full spectrum of the instrument, with both high and low partials.

It takes great imagination to use the cymbals to full advantage - from the most mysterious pianissimo to the grandest forte. A true cymbal virtuoso understands the entire score and grasps the meaning and magic of the cymbal at any given moment.

zildjians pro network | CONDUCTOrS

What percussionist(s) influenced you most in your knowledge of percussion?

eugene corporonMyron Collins in San Diego as I was growing up. jack Stamp as a long time friend. Most recently Mark Ford, Chris Deane, and robert Schietroma.

keith lockhartId have to say vic Firth. It was a revelation to me, when I arrived in boston, that a timpanist was so capable of influencing the performance of everyone else onstage, and that so many colors and subtleties were available. When I was cutting my professional teeth in Cincinnati, bill Platt (the principal percussionist) was infinitely helpful in filling in my knowledge gaps.

leonard slatkinMy conducting teacher was a percussionist. his name was jean Morel and he actually played the first performance of Lhistoire du Soldat. Also, Saul Goodman and Morris Goldenberg were very influential to me.

mallory thompsonThe starting point for me in answering this question has to be that composers have taught me about percussion (Colgrass, hindemith, Schwantner, Copland). While I have learned a great deal from my percussion colleagues at Northwestern, no sounds exist in a vacuum, so a bass drum accent might find a corollary in a bass trombone entrance; a crotale strike in an E-flat clarinet or a violin harmonic. The most important thing is to hear great sounds on any/every instrument and cross-reference them throughout the ensemble.

joann fallettaI have learned a great deal from my principal percussionists - rob Cross in the virginia Symphony (our first conversation 20 years ago was an intense and very memorable discussion of the role of the snare drum in bartoks Concerto for Orchestra) and Mark hodges in the buffalo Philharmonic (whose superb teaching through Druminars have not only fascinated me but have taught hundreds of people in buffalo about percussion and leadership!)

Pictured Left: The Percussion/Timpani Section of the Royal Concertgebouw Orchestra, Amsterdam - from left to right: Marinus Komst, Nick Woud, Gustavo Gimeno, Mark Braafhart, Herman Rieken

Pictured Right: 1. Eugene Corporon, Director of Wind Studies, University of North Texas, 2. Leonard Slatkin: Music Director, Detroit Symphony Orchestra and the Orchestre National de Lyon (ONL), France, Principal Guest Conductor, Pittsburgh Symphony Orchestra, 3. Mallory Thompson: Conducting Professor, Northwestern University.

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Allegro

2010 Kerope Zildjian Scholarship CompetitionHand Cymbal Etude

40 | KEEP ChECKING ZILDjIAN.COM FOr MOrE INFOrMATION ON ThE KErOPE ZILDjIAN SChOLOrShIP.

Try playing the 2010 Kerope Zildjian Scholarship cymbal etude this etude was one part of the required audition repertoire for this scholarship.

The etude is more challenging than it looks! Make sure to make consistent decisions on how you are going to interpret each dynamic and expression marking. Check to see that your soft piano dynamics are the same throughout the piece as well as the fortes. Also, the length of each of the short notes has to be consistent in the 3/8 bars. Enjoy the challenge of playing cymbals. As with any percussion instrument, ensure your time is precise, you are getting a good sound and that you always play musically.

matthew deckerCongratulations to Matthew Decker from roosevelt University, the winner of the 2010 Kerope Zildjian Scholarship. Currently in his senior year, Matthew is a student of Chicago Symphony percussionist vadim Karpinos. Matthew received a $5,000 tuition award, a trip to the Zildjian factory, and cymbals. The competition was judged by Neil Grover and richard Flanagan of the boston Symphony and Pops as well as Marc Damoulakis of the Cleveland Orchestra.

The finalists were Zachary Webb (University of Southern Alabama), ben Christensen (University of North Texas), Nate Tucker (boston Conservatory) and Derrill Koelz (University of Alabama). These students were awarded a prize package of Zildjian gear and cymbals.

Zildjian has a strong commitment and dedication to percussion education and student advancement. The Kerope Zildjian scholarship is also an opportunity for the Zildjian family to pay tribute to Kerope, who presided over one of the most pivotal periods in Zildjian history. From 1865 until his death in 1909 in Constantinople, Kerope continued to develop the classic K Zildjian sound, coveted by the worlds greatest percussionists. In memory of Keropes deep commitment to the art of craftsmanship, the Zildjian family established a scholarship in his memory to encourage and reward percussionists in their pursuit of excellence.

tim adams,University of georgiaOne of the most memorable times in my musical life happened when I was 17 years old. I was playing Mahlers 2nd Symphony with the Atlanta Symphony under the baton of robert Shaw. When the chorus sang for the first time in the piece, I realized that water was dripping on my pants. The music was so powerful that I was crying and did not know it. This is the feeling I have chased my entire

career. I was playing with both of my teachers at the time, bill Wilder and Paul yancich. In addition, I met the guy who was to become one of my closest friends that night, Tom Freer.

julie hill,University of Tennessee at MartinPerforming at the Seoul Drum Festival in South Korea would definitely be my most memorable moment on stage. This was a Caixa Trio performance. We had almost no set up time for our concert. The stage managers insisted on moving our instruments and implements for us so we didnt get the reassurance of touching everything before the show. We entered the stage and an estimated 5000

Koreans cheered for us. It was an outdoor gig, at night, in front of a beautiful temple. Once we began to play, flames shot up from the stage and strobe lights began to blind us. I had no hope of seeing my music, but remembered seeing the reflection from the pyrotechnics on my cymbals. It was glorious and terrifying at the same time. I kept saying to myself, dont think, dont think. Thank goodness for kinesthetic memory! It turns out that we were a big hit.

fernando meza, University of MinnesotaAs someone who performs as guest percussionist with the Minnesota Orchestra, I enjoy many special moments with this amazing group. however, sometimes unexpected things happen. I had to come in and play a concert with no rehearsal because one of the percussionists was ill. I was to cover the bass Drum part in beethovens Symphony No.9, a piece I have played a few dozen times in my career. I was warned

by the principal percussionist, that for my first (and very important) entrance, the conductor would not even look at me, that his cue was barely a cue, and that I had to be ready to read between the lines. Even though I knew the music by heart, being in the spot not knowing what the conductor would do to get me in, made that one note seem like the single most difficult thing I ever had to do in my life! Trusting ALL of my musical instincts, I placed that first note right in with the bassoon with what seemed to be an eyebrow twitch from the conductor! And although I was able to place the note correctly, I certainly hope I dont EvEr have to go through that again!!

scott herring,University of South Carolina One of my most memorable moments on stage was during an undergraduate recital performance of Elliott Carters March. The mallet flips are notoriously tricky, and this was certainly the case during my performance. just as I made one of the last flips, I lost control of the mallet and dropped it. I reacted quickly and trapped the mallet between my hand and the timpani head - the resulting sound

was a substantial ThUD. Of course, I was mortified; but after the recital, one of my peers lightened the moment by telling me he really enjoyed my new muffling technique!

neil grover,Boston PopsDuring a summer tour with the boston Pops, I had the great honor to play a program of music by composer john Williams, who happened to be our music director at the time. One evening we were performing at red rocks Amphitheatre, a picturesque venue high atop the rocky Mountains. While performing music from the film Witches Of Eastwick, something magnificent happened. right on cue (I

was playing thunder sheet), bright flashes of heat lightening illuminated the sky, bouncing around the mountain tops in a playfully diabolical manner. The majesty of natures light show was breathtaking. I was so stunned I almost lost my place in the music! hollywood could not have planned it any better.

jim casella,Leading Marching Percussion Specialist One year when I was with the Santa Clara vanguard, the corps was rehearsing at a school in a rough neighborhood. I was in the press box of the stadium preparing for an afternoon ensemble rehearsal while the rest of the corps was in sectionals. Suddenly, a man climbed over a chain link fence on one end of the field, ran across the field right through sectional rehearsals as if he were running for his

life. It turns out he was fleeing the police. At my elevated location in the press box, I was able to see him lose the police and take up shelter in the yard of a house behind the stadium. So I got on the PA system of the stadium to direct the police to his location. There was a brief showdown with guns drawn (no shots were fired), but ultimately the man was apprehended. Obviously, this whole scene disrupted our rehearsal, but it was definitely exciting. Who says afternoon drum corps rehearsals need to be boring?

MemorableMoments2010Scholarship Winner

KeropeZildjian

Mathew Decker is pictured above with teacher and Chicago Symphony percussionist, Vadim Karpinos.

to see marc damoulakis ( cleveland orchestra ) demonstrate the new k symphonic orchestral cymbals visit zildjian.com/score

2010 Avedis Zildjian Company Part #: ZL450