Download Report

K NNOOTT a n d G RIP
THE
HE K N
NO
OTT
The knot should be tight enough so that
when you hold the cymbal horizontally,
there is almost no room for it to dangle from
your hand. The tighter it is to your hand, the
less work you have to do to control it – and
control is key to good playing.
G RRIIPP
The Garfield grip is the standard grip for most cymbal lines, outdoor and indoor. *
The main concern for the straps on your hands is that they lay like a ribbon with a single
loop*. The overlap of the strap should lie comfortably between the thumb and index
finger. Without this loop the straps will bite into your hand and be quite uncomfortable.
This grip is much different than a standard orchestral or indoor band grip. Do not confuse
the two, they both have different implications.
Place your entire hand into the
strap
Rotate your hand until the
strap rests between the
thumb and index
finger.
Types of Crashes
The standard most used crash in music. When performed correctly, a full
warm characteristic cymbal tone is created. The full list of positions is on
the Vertical Open Crash page.
The choked version of the VOC. Cymbals are brought into the chest right
under the shoulder at a 90 degree angle to dampen.
Also known as a “SCV” or a “west coast” crash. Cymbals are held at a 45
angle with the left cymbal aligning with the underside of your pec muscle.
The right cymbal is brought up to the shoulder and thrown down at the left,
creating an aggressive, explosive sound.
The choked version of the FC. Cymbals are brought in at a 90 degree
angle, wrapping around the torso to dampen.
A fast, explosive crash that starts from the choked FCC position and
bursts out into a FC or back into a FCC. Very aggressive and
powerful, used in fast passages in which prepping is near impossible
**Santa Clara Vanguard cymbal
player demonstrating the FC and
FCC 45 degree angle.
*Crossmen cymbal player
demonstrating the VCC position
***Bluecoat member demonstrating
the FCC choking position
Vertical Open Crash
SET: Set is standard position when your cymbals are up in attention. The center
of the bell should be level with your nose, and the cymbals should be about 11/2
inches apart.
“A”: Cymbals should open down to a 90 degree angle. Elbows are held out,
making sure not to bring them into the chest.
“V”: Cymbals open up at a 90 degree angle. Elbows come together slightly,
but still keeping them away from your chest to prevent bad angles.
“FLAM” / “BOTTOM”: The two plates make contact, with the right plate
touching the left about 1 inch from the bottom. When sped up this creates the
flam between the two cymbals which in turn makes the characteristic sound of a
cymbal crash.
“CRASH” / “TOP”: Bring both plates together with the right slightly higher
than the left, due to the contact point from before. The plates should be
perfectly straight up and down. When sped up this opens up directly into the
next A position.
“A”: Repeat previous “A”
“V”: Repeat previous “V”
SET: Return to the Set position.
Specialty Crashes
Cymbals are held at a 45 degree angle on the body. The top cymbal is
hinged up and brought down onto the bottom. Arching the hand over the
bell of the cymbal creates a very crisp, clean attack.
The cymbals stay in the HH position, and are hinged the same. After the
right cymbal is brought down, it falls forward and then is sucked back into
position, creating a rock suction sound.
Cymbals are held in position “A”. The right cymbal is brought up and then
taps the left cymbal. This is used for more delicate or articulate parts of
songs.
A “Klank” is stared in the FCC dampening position. The right cymbal is
hinged from the body, and slammed into the left. It’s is dampened about
one second after the hit creating a loud explosive blast of sound.
A “Klunk” is the same as a “Klank” but instead of letting the cymbals
vibrate, they are always held close to the body, creating a dead clunking
sound.
The Vertical Zichan has the left plate vertical, and the right plate at a 45
degree angle about 3 inches
down from the top of the left.
The cymbal is scraped up
and the arm is fully extended.
The Left cymbal is set at 45 degrees while the right cymbal is
perpendicular to it. The right cymbal preps by coming away from the left
plate about 5 inches.
Then bring it down and
strike the right plate on the
inner bell of the left. The
release is a 1 count rebound up.
Count Structure: Prep on 4, crash on 1, release on 2, return to set on 3.
Cymbals are held in the front crash position. The right cymbal is dropped
lightly onto the left cymbal and slides downward while the left slides up.
This can be dampened up against the body.
Basic Exercises
Whenever a part is split, someone gets a downbeat while the other gets an offbeat.
Practicing offbeat timing will drastically improve your timing skills in all areas.
Use your feet to play half of the rhythm. You will be marching while you play your
show music so why not practice with your feet and use them to your advantage! Practicing this
with a metronome is a must. Without having the structure of a metronome during your
practice, your timing will never improve.