H o� � N o S uck a C ymbal� The UCM Drum-Band Way 2nd Edition By Travis Seek
Atiude
SO YOU GOT ASSIGNED TO
Cymbal�
LEAVE YOUR EGO AT HIGH SCHOOL...
YOU’RE IN COLLEG E NOW
You would think it would be easy to bang two plates of bronze together... but somehow people find a way to suck. Here’s how not to. You’re welcome.
Are you playing cymbals cymbals because you didn’t get the instrument you auditioned for? Awesome! WE DON’T CARE. You play cymbals now. Enjoy it while you have it. In a college drum-line (or any drumline), it should be your goal as a performer to play to the best of your ability. ability. Being in the cymbal section requires an additional level of showmanship. We are the most maneuverable and visually noticeable section of the drumline (due to the giant shiny things that we play). With that being said, be prepared to dance and participate in a lot of Visuals. It’s not optional. It’s part of the job and you’re getting paid by the university to do it. Suck it up buttercup. You’re not in High School any more.
THINGS TO INVEST IN AND
Bring Bring a towel to every rehearsal. You are expected to clean your cymbals after every session where your hands come in contact with the cymbals. Cymbals are bronze. When moisture comes in contact with them, they oxidize and turn the cymbals green. The salt in your sweat speeds this process up even more so keep that in mind. We also occasionally rehearse in the rain so having your own towel will ensure that all of the cymbals can be properly dried. Foam medical tape is tape is optional but highly recommended at the beginning of the season or after getting new straps. I have seen people’s hands turn purple and blisters that covered half of their hands because they did not wear
protection until their hands developed callouses. Don’t let that be you. If you would like a higher quality and rather snazzy option instead you can also check out Cymbal Gloves at http:// cymbalgloves.com Ear plugs are highly recommended for every member of the drumline. As a cymbal player, you will probably stand a couple of feet away from a snare playing rim shots. If you don’t have ear plugs you plugs you will go deaf . Over the season you will notice your hearing level go down. This is permanent. is permanent. Do yourself a favor and buy earplugs (especially if you’re a music major). I recommend the firing range plugs located in the hunting isles of Walmart.
THINGS TO INVEST IN AND
Bring Bring a towel to every rehearsal. You are expected to clean your cymbals after every session where your hands come in contact with the cymbals. Cymbals are bronze. When moisture comes in contact with them, they oxidize and turn the cymbals green. The salt in your sweat speeds this process up even more so keep that in mind. We also occasionally rehearse in the rain so having your own towel will ensure that all of the cymbals can be properly dried. Foam medical tape is tape is optional but highly recommended at the beginning of the season or after getting new straps. I have seen people’s hands turn purple and blisters that covered half of their hands because they did not wear
HOW TO TIE THE
Srap� 1. Fold the strap horizontally (logo inside of the fold and the soft side out). 2. Fold the strap in half vertically. 3. Align the branches of the straps together and thread them through the middle of the cymbal.
protection until their hands developed callouses. Don’t let that be you. If you would like a higher quality and rather snazzy option instead you can also check out Cymbal Gloves at http:// cymbalgloves.com Ear plugs are highly recommended for every member of the drumline. As a cymbal player, you will probably stand a couple of feet away from a snare playing rim shots. If you don’t have ear plugs you plugs you will go deaf . Over the season you will notice your hearing level go down. This is permanent. is permanent. Do yourself a favor and buy earplugs (especially if you’re a music major). I recommend the firing range plugs located in the hunting isles of Walmart.
4. Spread the branches of the straps to where they form and “X.” (optional) Place a quarter in the middle of the “X.”
HOW TO TIE THE
Srap�
4. Spread the branches of the straps to where they form and “X.” (optional) Place a quarter in the middle of the “X.”
1. Fold the strap horizontally (logo inside of the fold and the soft side out). 2. Fold the strap in half vertically. 3. Align the branches of the straps together and thread them through the middle of the cymbal.
5. Cross the top left branch over the top right branch.
6. Cross the top right branch over the bottom right branch.
5. Cross the top left branch over the top right branch.
6. Cross the top right branch over the bottom right branch.
7. Cross the bottom right branch over bottom left branch.
8. Loop the bottom left branch under the top left branch.
7. Cross the bottom right branch over bottom left branch.
Pu Tigh
8. Loop the bottom left branch under the top left branch.
Exercise
YOU’LL REGRE T IT IF YOU DON’T.
Cymbals are very physically demanding. demanding. They can be one of the most painful instruments you have ever played if you do not condition yourself properly. properly. Arm strength is vital to your performance level. As a collegiate percussionist, you will be expected to play for long hours with relatively little break time. If you do not work out you will not have the stamina needed to perform at your best and to make it through all of the performances. It is vital for you to remember exercise before and during the performance season. You will seriously regret it if you don’t.
Pu Tigh
Exercise
YOU’LL REGRE T IT IF YOU DON’T.
Cymbals are very physically demanding. demanding. They can be one of the most painful instruments you have ever played if you do not condition yourself properly. properly. Arm strength is vital to your performance level. As a collegiate percussionist, you will be expected to play for long hours with relatively little break time. If you do not work out you will not have the stamina needed to perform at your best and to make it through all of the performances. It is vital for you to remember exercise before and during the performance season. You will seriously regret it if you don’t.
Gras� Straps should be kept tight for optimal control. To properly wear the cymbal, insert your hand through the loop with the soft side facing towards you and your palms facing up. Then, swing your hand forward to where your thumb is on one side of the strap intersection and your fingers are on t he other.
HOLDING AS A
Ride Occasionally, Occasionally, cymbals are required to hold the cymbals for the snare. While holding them as a hi-hat is fairly straightforward, holding them as a ride can be interpreted in multiple ways. At UCM, We hold them with the inside of the cymbals facing the snare player and the tops tilted tilted slightly towards ourselves.
Gras� Straps should be kept tight for optimal control. To properly wear the cymbal, insert your hand through the loop with the soft side facing towards you and your palms facing up. Then, swing your hand forward to where your thumb is on one side of the strap intersection and your fingers are on t he other.
CONCERT STYLE
Angle For the sake of your arms as well as uniformity, uniformity, we hold our cymbals at a little less than a 45o angle.
HOLDING AS A
Ride Occasionally, Occasionally, cymbals are required to hold the cymbals for the snare. While holding them as a hi-hat is fairly straightforward, holding them as a ride can be interpreted in multiple ways. At UCM, We hold them with the inside of the cymbals facing the snare player and the tops tilted tilted slightly towards ourselves.
PORT STYLE
Angle Port Style techniques, which are used heavily in drum corps, are visually impressive, high in sound quality, and incredibly strenuous physically. IF YOU DO NOT EXERCISE THEY WILL TRY TO KILL YOU. Consider these the gremlins of cymbal techniques. They look awesome but if you don’t treat them with respect and follow instructions you will look like an idiot and your biceps will shrivel up and die. Basically the goal is to have the bells of the cymbals at eye level, the cymbals about three inches apart, both cymbals as close to straight up and down in front of you, and for you to be able to do this for HOURS. Get ready for some massive muscles.
CONCERT STYLE
PORT STYLE
Angle
Angle
For the sake of your arms as well as uniformity, uniformity, we hold our cymbals at a little less than a 45o angle.
Chuck� Chucks are a technique for playing the part that a hi-hat would play on a drum-set with our hands. Start at the concert style playing angle and simply open the top cymbal slightly and close it on top of the bottom cymbal firmly.
Port Style techniques, which are used heavily in drum corps, are visually impressive, high in sound quality, and incredibly strenuous physically. IF YOU DO NOT EXERCISE THEY WILL TRY TO KILL YOU. Consider these the gremlins of cymbal techniques. They look awesome but if you don’t treat them with respect and follow instructions you will look like an idiot and your biceps will shrivel up and die. Basically the goal is to have the bells of the cymbals at eye level, the cymbals about three inches apart, both cymbals as close to straight up and down in front of you, and for you to be able to do this for HOURS. Get ready for some massive muscles.
CONCERT STYLE
Crashe� Concert Crashes are probably one of the most common techniques we use. For optimal sound quality as well as to reduce strain on your arms we play crashes in a small circular motion. Start in the typical concert position. From there, push the top cymbal into
the bottom cymbal beginning with top/ left edge. Continue the circular path by allowing the bottom/right edge to reach the bottom cymbal. Continue the circular path and repeat as necessary. necessary. In the end, the contact of the cymbals should be similar to a flam but fast enough to not make t he “f-lam” sound.
Chuck�
CONCERT STYLE
Crashe� Concert Crashes are probably one of the most common techniques we use. For optimal sound quality as well as to reduce strain on your arms we play crashes in a small circular motion. Start in the typical concert position. From there, push the top cymbal into
Chucks are a technique for playing the part that a hi-hat would play on a drum-set with our hands. Start at the concert style playing angle and simply open the top cymbal slightly and close it on top of the bottom cymbal firmly.
Choke�
PORT STYLE
Crashe� To do a Port Style Crash, start with the position specified in the Port Style Angle section. From there, push the bottom edges of the cymbals together and continue a circular path until the top edges
the bottom cymbal beginning with top/ left edge. Continue the circular path by allowing the bottom/right edge to reach the bottom cymbal. Continue the circular path and repeat as necessary. necessary. In the end, the contact of the cymbals should be similar to a flam but fast enough to not make t he “f-lam” sound.
collide as well. Continue in a circular motion and repeat a s necessary. Basically make a V and then an A shape in a way similar to co ncert crashes (circular motions and quick flams).
Not to be co nfused with murder, murder, chokes are an incredibly useful musical technique that appears in scores often. To choke the cymbals, simply pull them
down and dampen the sound on your sides. Utilize those love handles! The Motion needs to be quick but keep in mind that the cymbals CAN cut you.
Choke�
PORT STYLE
Crashe� To do a Port Style Crash, start with the position specified in the Port Style Angle section. From there, push the bottom edges of the cymbals together and continue a circular path until the top edges
collide as well. Continue in a circular motion and repeat a s necessary. Basically make a V and then an A shape in a way similar to co ncert crashes (circular motions and quick flams).
Not to be co nfused with murder, murder, chokes are an incredibly useful musical technique that appears in scores often. To choke the cymbals, simply pull them
CONCERT STYLE
CONCERT STYLE
Sizzle� Sizzles are made by letting the top cymbal fall onto the bottom cymbal and allowing it to resonate. Tilting the bottom cymbal down slightly and lifting your fingers off of the top cymbal’s bell will sometimes improve the sound quality of a sizzle.
Sizz-Suck� Commonly referred to as a “slidechoke,” sizz-sucks are played by pushing the front edge of the top cymbal into the area of the bell on the bottom cymbal farthest away from yourself. From there, push forward with a good amount of force and then pull the cymbal back until the suction created from moving the cymbals (tightly) on top of each other stops the sound.
down and dampen the sound on your sides. Utilize those love handles! The Motion needs to be quick but keep in mind that the cymbals CAN cut you.
CONCERT STYLE
Sizzle� Sizzles are made by letting the top cymbal fall onto the bottom cymbal and allowing it to resonate. Tilting the bottom cymbal down slightly and lifting your fingers off of the top cymbal’s bell will sometimes improve the sound quality of a sizzle.
Sizz-Suck� Commonly referred to as a “slidechoke,” sizz-sucks are played by pushing the front edge of the top cymbal into the area of the bell on the bottom cymbal farthest away from yourself. From there, push forward with a good amount of force and then pull the cymbal back until the suction created from moving the cymbals (tightly) on top of each other stops the sound.
Ding�
PORT STYLE
Sizz-Suck� Port Sizzles and Sizz-Sucks are very similar to concert sizzles. To form the sizzling sound, simply press the cymbals together but do not press so hard that you dampen the sound completely.
CONCERT STYLE
Keeping your fingers off the cymbal as shown on the illustration on the left well help to further ensure that the sound is not cut off early. To stop the sound (the Suck part) simply press the cymbals tightly together.
Hold the cymbals around eye-level at approximately 45o angles. Hit the top edge of the cymbal in your left hand with the bottom of the cymbal in your right. Some musical scores will specify specific areas of the cymbal to hit (edges or bell). Adjust accordingly to what the music specifies unless told otherwise.
Ding�
PORT STYLE
Sizz-Suck� Port Sizzles and Sizz-Sucks are very similar to concert sizzles. To form the sizzling sound, simply press the cymbals together but do not press so hard that you dampen the sound completely.
Keeping your fingers off the cymbal as shown on the illustration on the left well help to further ensure that the sound is not cut off early. To stop the sound (the Suck part) simply press the cymbals tightly together.
Ro�
Hold the cymbals around eye-level at approximately 45o angles. Hit the top edge of the cymbal in your left hand with the bottom of the cymbal in your right. Some musical scores will specify specific areas of the cymbal to hit (edges or bell). Adjust accordingly to what the music specifies unless told otherwise.
Wach THE DRUM MAJOR FOR
THE LOVE OF FREAKIN’ GOD... WATCH
Hold the cymbals in a similar level to the ding specifications but at a slightly steeper angle. Roll the edges of the cymbals against each other in a circular motion beginning away from your body. body.
Be as smooth as possible and do not go faster than you can handle. Sound quality is still more important than showing off.
Yeah... It’s that important. Standing on the back of the field creates a huge delay. delay. If you’re listening to the band you will probably be wrong. Watching the Drum Major is the only time keeping method that will guarantee that you are playing in the same tempo as the rest of the band.
Ro�
Wach THE DRUM MAJOR FOR
THE LOVE OF FREAKIN’ GOD... WATCH
Hold the cymbals in a similar level to the ding specifications but at a slightly steeper angle. Roll the edges of the cymbals against each other in a circular motion beginning away from your body. body.
Be as smooth as possible and do not go faster than you can handle. Sound quality is still more important than showing off.
Yeah... It’s that important. Standing on the back of the field creates a huge delay. delay. If you’re listening to the band you will probably be wrong. Watching the Drum Major is the only time keeping method that will guarantee that you are playing in the same tempo as the rest of the band.
G� Forh and Don’ Suck
