You are on page 1of 23



1 2 3 4 5

The Zildjian Team

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

OUR FIRST INTERACTIVE SCORE MAGAZINE We are excited to bring you our rst multi-media companion Score Magazine. Everything you see in this issue will be replicated digitally online at, 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 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 NETWORK Zildjian is extremely proud of its relationship with some of the nest educators, players, and musicians in the world. And we are very fortunate that they share the same passion for helping you nd 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 eld of Marching, Orchestral, Drumset, Education and Conducting. Lucky you. FUN FACTS Face 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... 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

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

Education & Orchestral


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).

02 |

Hard Corps

& Heavy Metal


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).

04 |

cymbals 101

drumset cymbal set up

Sound Advice
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.

d a i m

h l k

g c b

3 2 4
1 2

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



a Zildjian HiHats

J Snare Drum

k Mounted Tom l Floor Tom m Floor Tom n Bass Drum

b Zildjian Crash or c Zildjian Ride


Crash Ride 16-20

d 18 Medium Crash e 14 Fast Crash f 12 Fast Splash g 16 Thin Crash h 19 Rock Crash i 20 China High

cymbal anatomy
The 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.

Degree 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.

Degree 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.

The 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.



The 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.

06 |

cymbals 101

nce standard co

rt grip
standard marc hing grip

suspended cymbal roll

1 2 3

concert crashes
short crash
1 2 3


(1) Preparation

(2) Attack/Single Stroke Roll (3) Mufe / Dampen


hand cymbal knot

long crash
1 2 3 4 5 6


marching crashes
Click the mouse icon above on 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!

as demonstrated by the Santa Clara Vanguard

(1 & 2) Preparation

(3 & 4) Attack

r the art of finge

1 2


(5 & 6) Release

Pinch elastic straps

to grip

cymbals outer edges together Never play like hand ike Str surface Strike edge to inner 2


3-12 upstroke re using appropriate pa Pre 2. ge ute using left hand ed ar just off center 4. M htly tapping ne lig ng by go ng ike go Str 3. -up 1. Warm

strike a gong
3 4

set position orchestral crash crash choke sizzle tap-choke suck scratches

pistol positions full orchestral crash crash-crash choke sizzle-press ding sizzle suck swoosh roll

flat crash port crash crunch tap zing click

ZildJian dRum coRps HaVe won tHe DCI CHampionsHip title 29 out of tHe last 30 YeaRs. | 09

cymbals 101
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. 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 an alloy 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 a players hands. Cymbal Knot the square knot (also called sailors knot) used to secure a leather strap to a hand cymbal. See page 9. 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.

the denitive cymbal

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. rinds 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. ammering 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.

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.

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.

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.

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.

Scratching a cymbal effect created

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 striking the underside of another cymbal in the bell area. Sometimes referred to as a cymbal scank. Primarily a marching technique.

Dampen muffle the cymbals.

Decay the reduction in sound after a 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. un-pitched cymbals mounted on elastic straps and struck together to produce a high pitched sound.

Leather Straps see cymbal straps.

Let Vibrate let the cymbals ring. LV same as let vibrate. Low Boy the predecessor to the modern HiHat.

Finger Cymbals a pair of small

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

acuum (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.

Flanged HiHats specially designed HiHats with flanged edges that increase the contact surface and the chic sound when the 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.

Metal Castanets heavy finger

cymbals mounted in pairs on metal handles. Ideal for an authentic sound in the Baccha nale from Saint-Saens Samson and Delilah.

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.

that are above the fundamental frequency.

Overtones the sonorities produced

Plates slang for cymbals, derived

from the Italian word piatti. Plate Roll a symmetrical motion in which two cymbals are rubbed against each 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.

10 | WHat does tHe name ZildJian stands foR - Zil: cYmBal, dJ: makeR, ian: ARmenian suffiX foR son of. SCORE | 11

cymbals 101

The Guide
Band / Orchestra
ZBT Band Pair 14 16 ZBT Crash 16 ZBT14BP ZBT16BP ZBT16C

choosing cymbals, drumsticks, and accessories for your school

Drum Set
ZBT 4 Box Set 13 HiHats (pair) 14 Crash 18 Crash Ride


Junior High Middle School

Effects & Accessories

ZBTB4P Leather Straps (2 pair) Orchestral Felt Pads (2 pair) 22 Oriental Wind Gong Finger CymbalsThin (pair) 20 Cymbal Bag P0750 P0756 P0549 P0773 P0729

SticKs / Mallets / brushes Drumsticks

7A Wood Tip Natural General Orchestral Sticks




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 selecting 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


Wind Gong Cymbal, Natural


Band / Orchestra
Concert Stage Pair 16 A0444

Classic Orchestral Suspended 16 A0417 ZHT Band Pair 18 ZHT18BP

Z-MAC Pair 16 18


Effects & Accessories

A0475 A0477 ZHTP4P Leather Straps (4 pair) Leather Pads (4 pair) 26 Traditional Gong Gong Stand Finger CymbalsThin (pair) Hand Cymbal Cradle Suspended Cymbal Arm 22 Deluxe Cymbal Bag

Drum Set
ZHT Pro Box Set 14 HiHats (pair) 16 Medium Thin Crash 20 Medium Ride


P0750 P0751 P0499 P0560 P0773 TCC TCA P0733

SticKs / Mallets / brushes Drumsticks

5A Nylon Natural or 5B Nylon Natural General Orchestral Sticks



Gong Cymbal, Natural


Professional, Retractable or Fixed Wire


Band / Orchestra

Stadium Medium Pair 16 18 A0468 A0483

Effects & Accessories

High ol

Classic Orchestral Medium Heavy Pair 16 A0753 Classic Orchestral Medium Light Pair 18 A0759 20 A0767 Classic Orchestral Suspended 16 A0417 K Constantinople Suspended K1012 18

Stadium Medium Heavy Pair 19 A0473 A0497 20

Drum Set
K Zildjian Crash Ride 18 K0808


A0912 A Zildjian Box Set 14 NewBeat HiHats (pair), 16 Med ThinCrash, 20 Med Ride, 22 Cymbal Gig Bag

Leather Straps (7 pair) Leather Pads(7 pair) 34 Traditional Gong Gong Stand Finger Cymbals (Thick) Hand Cymbal Cradle Suspended Cymbal Arm 22 Deluxe Cymbal Bag (2) 22 Deluxe Cymbal Rollerbag High Octave Crotales High Octave Crotale Bar Crotale Carrying Bag Z-Bag

P0750 P0751 P0501 P0560 P0771 TCC TCA P0733 P0650 P0615 P0631 P0634 TZBAG

SticKs / Mallets / brushes Drumsticks

Jazz Wood Natural 5A Wood Natural or 5B Wood Natural General Orchestral Sticks Mezzo 1 Multi-Rod

K Custom
Rich, Dry + Complex


K Zildjian
Dark, Warm + Expressive


Gong Suspended Cymbal


A Custom

Professional, Retractable or Fixed Wire

Fast, Modern + Shimmering

A Zildjian
A Custom China 18 A20529

Band / Orchestra
K Constantinople Vintage Med. Heavy Pair 16 K1136 K Constantinople Medium Light Pair 18 K1000 Classic Orchestral Medium Light Pair 20 A0767 Classic Orchestral Medium Pair A0781 17 Classic Orchestral Suspended 16 A0417 K Constantinople Suspended 18 K1012 K1014 20 Stadium Medium Heavy Pair A0487 16 18 A0495 A0473 19 20 A0497

Drum Set Big Band

A Zildjian Fast Splash 8 A0271

SticKs / Mallets / brushes Drumsticks

Jazz Wood Natural 5A Wood Natural or 5B Wood Natural General Orchestral Sticks Mezzo 1 Multi-Rod Mezzo 2 Multi-Rod Timbale Sticks

Bright, Natural + Full-Bodied

K Constantinople MediumThin Ride-High 20 K1115 K Constantinople Flat Ride 20 K1124 P0750 P0751 P0549 P0501 P0560 P0773 P0771 TCC TCA P0733 P0650 P0615 P0631 P0625 P0630 P0634 TZBAG

K Custom Hybrid HiHats (Pair) 14 K1224 K Custom Hybrid Crash 18 K Custom Hybrid China 19 K1218 K1220

Effects & Accessories

K Constantinople Medium Ride 20 K1016


K Light HiHats (Pair) 14 K Dark Crash Thin 15

K0812 K0901


Azuka Latin Multi-Crash Hand & Stick 15 A20015 Oriental China Trash 16 A0616

Leather Straps (8 pair) Leather Pads (8 pair) 22 Oriental Wind Gong 34 Traditional Gong Gong Stand Finger Cymbals Thin (pair) Finger Cymbals Thick (pair) Hand Cymbal Cradle (2) Suspended Cymbal. Arm (2) 22 Deluxe Cymbal Bag (2) 22 Deluxe Cymbal Rollerbag High Octave Crotales High Octave Crotale Bar Low Octave Crotales Low Octave Crotale Bar Crotale Carrying Bag (2) Z-Bag



Power, Projection + Playability



Gong Suspended Cymbal


Ethereal, Creative + Atmospheric



Professional, Retractable or Fixed Wire

Bold, Bright + Melodic

Clear, Powerful + Musical



Crisp, Clean + Dened

Whats News

ZILDJIAN 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.

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.

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.

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 mufing, yet they are large enough to keep players hands protected.

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.
watcH neil gRoVeR and keitH aleo talk aBout tHese new pRoducts on | 15

Sound Choices
for Your Indoor Cymbal Line
ROB FERGUSON, Percussion Caption Head and Arranger - Glassmen Drum and Bugle Corps Director - Matrix Indoor Percussion Ensemble When making cymbal choices for Matrix, a part of the decision is based on the specic 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 specic 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 nd. TOM AUNGST, Percussion Caption Head and Arranger-Blue Stars Drum and Bugle Corps Percussion Director-Dartmouth High School, Dartmouth, MA When 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 Mystique At 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 dene 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 specic ensemble sound that can only be achieved by the warm dark sound of Zildjian cymbals. We are specic in our choice of cymbals within the ensemble and very specic with the brand we choose. Pictured Left: Brittany Walko: Walled Lake Percussion Scholastic World Line, Walled Lake Percussion Group, Walled Lake, MI. (photo by: Dave Mexicotte).


2 1

Zildjians Pro Network


BRIAN MASON, PROFESSOR OF PERCUSSION, MOOREHEAD STATE UNIVERSITY FORMER CAPTION HEAD, SANTA CLARA VANGUARD, PHANTOM REGIMENT AND THE CAVALIERS Cymbal 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.

3 5

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 (ex. Orchestral vs. Jazz) MIKE JACKSON, Percussion Caption Head & ArrangerBluecoats Drum & Bugle Corps Riverside Community College Percussion Ensemble Director Mission Viejo HS Percussion Ensemble When 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. music well be performing

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 fullls the needs of the composition with the least amount of compromise.

1. Matrix, 2. Music City Mystique, 3. Dartmouth High School, 4. Mission Viejo High School, 5. Santa Clara Vanguard.

18 | watcH HigHligHts fRom tHe 2010 wgi finals at


MATT STRAUSS, HOUSTON SYMPHONY ORCHESTRA Overture 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.

Magic of
Cymbal Parts
slightly different angles. This will lessen the chance of hitting any air pockets. However, too much of an angle might produce two separate sounds (am). Cushion each crash by limiting tension in the wrists at the contact point. It is also important to develop a rm 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 mufing, execute each crash very close to the torso. Efciency 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.

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


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.

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

foR a Video lesson fRom matt stRauss, go to | 21

DAVID FISHLOCK, CINCINNATI SYMPHONY ORCHESTRA Tchaikovskys Fourth Symphony. When I think of Tchaikovskys Fourth Symphony, the rst 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 rst note. After the soft ending of the 3rd movement, conductors usually want the fourth movement to be attacca, and they want that rst note to explode out of nowhere. Oftentimes, there is no chance to prepare the stroke, and I nd 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.
Cymb. B. Dr.

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, specically 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 ght, 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.
Cymb. B. Dr.

Tchaikovsky - Symphony No. 2 in C Minor, Op. 17*


B. Dr.

Zildjians Pro Network


JEREMY BRANSON, PITTSBURGH SYMPHONY ORCHESTRA When 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 y 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 mufed. Being sensitive to the low brass and horn section will help guide you through your choices of a quick mufe or a more tapered approach.

1. David Fishlock, 2. Matt Strauss, 3. Jeremy Branson. 2

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 mufing, 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 are. 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.

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


...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!

| 23

Drum Solo
How do Cymbals Come into Play?
PETER ERSKINE, WEATHER REPORT, JAZZ DRUMMER Music 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 waterlike 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.

Zildjians Pro Network


there are certain musical elements that should be in place for a solo to hold the listeners interest... - Steve Houghton
STEVE HOUGHTON, INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC The 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 / Ostinatos Cymbals 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 / Colors One obvious musical benet 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 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 / Intensity Cymbals 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 nishing 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 / Textures Ive 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. CASEY SCHEUERELL, BERKLEE COLLEGE OF MUSIC Cymbals 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. TERRI LYNE CARRINGTON, BERKLEE COLLEGE OF MUSIC I 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. ED SOPH, UNIVERSITY OF NORTH TEXAS Assuming 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 gures 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.






Scheuerell, 3. Terri Lyne Carrington. 4. Ed Soph (photo by: Fotos by Folletts).

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


KeRope ZildJian is tHe oRiginatoR of ZildJians K line of cYmBals. KeRope pResided oVeR one of | 27 tHe most stoRied peRiods in ZildJian HistoRY, 1865-1909.

The rst 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

Crash Course
MICHAEL BURRITT, EASTMAN SCHOOL OF MUSIC I often nd 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 rst 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 nger, and middle nger. 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 oor. I stress getting a good crash while doing this exercise. By dropping the cymbal to oor, the student is getting a sense of two signicant 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.

Michael Burritt

I then have the student drop the right hand cymbal into the left at the opposing angels creating the traditional am 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 rst (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 difcult to move to other instruments after an extended cymbal session. Happy Crashing!


Sight 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 nal round of auditions. After performing Scheherazade, Porgy and Bess, and other high prole excerpts at a high level, many candidates had difculty 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.

watcH micHael BuRRitt at | 29

Zildjians Pro Network

LALO DAVILA, MIDDLE TENNESSEE STATE UNIVERSITY There are three cymbals that t into my set up nicely even with limited room on stage, I always have these readily available. The rst 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 denition and really cuts in a salsa band with a huge horn section.

3 1 2

Lalo Groove

SHERRY RUBINS, UNIVERSITY OF TEXAS, SAN ANTONIO The 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 rst nger between the 1st/2nd knuckle, then wrap the rest of your ngers 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 am 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 UNIVERSITY I 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 am between the two cymbals. When teaching cymbal crashes, the rst and most important thing I try to teach my students is that the crash needs to include a am. If all sides of the cymbal hit at the same time, the sound will be at, thin, and likely produce an air-pocket. Many students are afraid that their am 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 am is too wide. Otherwise the am 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 oor. If they play the cymbal at on the oor, the sound will be thinner. When they achieve a good am, the entire cymbal will activate very quickly and both low and high overtones will be resonating. Once this sound becomes consistent on the oor, 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 am, I then encourage them to stagger the cymbals just slightly when they crash this makes it difcult 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 am in my R.H., so I try to add this into my students crash as well.

Cascara "Cascara"

RH - Shell of drum or Cymbal

LH - Wood Block

"2-3 Clave"

Cymbal Etude


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

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.

RacHmaninoVs Second Piano ConceRto is one of tHe most populaR piano conceRtos in tHe woRld. It also Has one of tHe | 31 softest cYmBal paRts in tHe oRcHestRal RepeRtoiRe.

where does it come from?



GROWING UP WITH CYMBALS! DANNY GOTTLIEB, UNIVERSITY OF NORTH FLORIDA/LT. DAN BAND I 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 inuenced me along the way. My rst 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 inuence. My rst 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 inuenced 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.

As for symphonic playing, Patsy Dash was denitely a huge inuence. 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 rst 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 ve 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!

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

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.

32 | Jim CampBell and MussoRgskYs PictuRes at an EXHiBition, a life long stoRY. watcH it at

click tHis page on To HeaR and see dannY plaY mel lewis cYmBal. | 33

ERIC RENICK, AUCKLAND PHILHARMONIA My rst 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.

Zildjians Pro Network



MIDDLE TENNESSEE STATE UNIVERSITY BAND OF BLUE DRUM LINE, WGI ADJUDICATOR, CAIXA TRIO My earliest inuence was denitely 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 inuenced by the Maynard Ferguson band and all of the great drummers that played for him, including Steve Gadd. Hearing Gadd on one of his rst 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 Gareld 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. Julies Grandfather, John R. Sutton is pictured front row, 2nd from right.

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

La Mer - Claude Debussy

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


* Try playing Steve Gadds legendary drum intro.

Anton Fig - The Late Show with David Letterman

WatcH wHat inspiRes anton fig BY clicking HeRe on | 35

What is the ideal location of the percussion section within your ensemble?
EUGENE CORPORON From left to right (from the conductors perspective, facing the ensemble): celeste, piano, mallets, battery, bass drum, timpani. KEITH LOCKHART Ideally, 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 at 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 SLATKIN We 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 THOMPSON I 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

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 specic 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 FALLETTA The 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.

The conductors point of view is very different from that of the player or teacher. We asked ve of todays leading Orchestra and Wind Conductors to share their perspective of the section.
36 | watcH Joann Falletta talk aBout oRcHestRa peRcussion auditions at


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) | 37

Zildjians Pro Network


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

EUGENE CORPORON Myron 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 LOCKHART Id have to say Vic Firth. It was a revelation to me, when I arrived in Boston, that a timpanist was so capable of inuencing 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 innitely helpful in lling in my knowledge gaps. LEONARD SLATKIN My conducting teacher was a percussionist. His name was Jean Morel and he actually played the rst performance of Lhistoire du Soldat. Also, Saul Goodman and Morris Goldenberg were very inuential to me. MALLORY THOMPSON The 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 nd a corollary in a bass trombone entrance; a crotale strike in an E-at 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 FALLETTA

In your experience, what makes a great cymbal player and/or cymbal sound?
EUGENE CORPORON Accuracy, clarity, and resilience. Someone who can pick the right sound for the right setting and add full support without covering the group! KEITH LOCKHART It may seem obvious, but musicality. It is always surprising to us nonpercussionists 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 SLATKIN Variety 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 THOMPSON In 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 FALLETTA A 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 lled 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.

I have learned a great deal from my principal percussionists - Rob Cross in the Virginia Symphony (our rst 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.

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. | 39


Kerope Zildjian
Scholarship Winner



MATTHEW DECKER Congratulations 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 Georgia One 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 Martin Performing 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.

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! 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? NEIL GROVER, Boston Pops During 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.

2010 Kerope Zildjian Scholarship Competition Hand Cymbal Etude

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

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.


FERNANDO MEZA, University of Minnesota As 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!!

40 | keep cHECKing ZILDJIAN.COM FOR moRe infoRmation on tHe keRope zildJian SCHOLORSHIP.


2010 Avedis Zildjian Company

Part #: ZL450