The symphonic cymbalist must employ an array of special effect strokes in
order to satisfy the demands of a wide variety of musical situations. I use at
least a half dozen special strokes mostly to create special soft sounds
involving a variety of slide effects on different parts of the cymbal.
Perhaps the most common slide stroke was coined by Richard Strauss in his
virtuosic orchestral tone poem "Ein Heldenleben". Here Strauss calls for a
Zischend stroke, meaning in this case to slide or gently scrape the edge of one
cymbal against the inner surface of the other in an upward brushing motion.
Generally speaking this is an easy stroke to accomplish except that the speed
and timing of the slide must precisely fit the musical gesture of the moment.
(Reference #1: Ein Heldenleben by Richrd Strauss)
Dvorak's New World Symphony offers another opportunity for a slide stroke.
Dvorak's music, otherwise rhythmic, vital and intense, shifts to a gentler and
quieter mood, subsiding into a gently rocking motion setting up the moment for
one of the most amazing cymbal strokes in the entire repertoire.
(Reference #2: New World Symphony by Ant. Dvorak, Movement 4, Measure
64).
The effect here is both dramatic and subdued. A truly magical moment. (The
only other moment in the repertoire which features a percussion instrument in a
similar unique way would be the gong stroke in the fourth movement of
Tchaikovsky's 6th Symphony. The only other musical moment of similar intensity
is the famous timpani stroke at the end of Beethoven's 3rd Symphony!)
Of the many cymbal effects possible none is more unusual than the cymbal
roll. The roll is accomplished by moving one cymbal around the circumference of
the other while keeping the cymbal in constant contact and without crossing over
the center of the cymbal (otherwise an air pocket may result). In the fourth
movement of Zoltan Kodaly's "Hary Janos", entitled "Battle and Defeat of
Napoleon" the cymbals are first struck and then joined together for a roll.
(Reference #3: Hary Janos by Zoltan Kodaly, 4th Movement, Gattle and
Defeat of Mapoleon, Measure 21).
Perhaps an equally unique moment occurs in Bela Bartok's "Miraculous
Mandarin". Here the cymbalist is asked to roll on a pair of cymbals for a total
of 16 bars while making a deafening crescendo.
(Reference #4: Miraculous Mandarin by Bela Bartok, Rehearsal 59-62).
RECOMMENDED GRIP:
This grip is recommended because it facilitates easy interchange of instruments.
Orchestral and concert performers prefer a simple full strap grip. Step 1 -
Place the strap across the palm below the second joint of the index finger Step
2 - Curl the fingers around the strap and make a fist. Step 3 -Place the flat of
the thumb against the top of the bell, with the knuckles of the index and large
finger against the bottom of the bell.
