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Marching Cymbals


The Garfield* Grip

The Garfield grip is highly recommended since the weight of the cymbal is distributed over the entire surface of the palm. This grip is the most effective means of controlling the cymbals while at the same time reducing hand tension.

Step 1- Hold the cymbal in a vertical position and put the entire hand through the strap to the wrist.

Step 2- Turn the hand so the palm is facing away from the pad of the cymbal.

Step 3- Rotate the entire hand downward and turn the palm toward the cymbal until it touches the pad. The strap should rest at the base of the thumb and forefinger.

Note: The strap may have to be loosened if the grip is too tight. It is important to keep finger tips off the surface of the cymbal in order to allow the instrument to vibrate freely.

*Garfield refers to the Garfield Cadets, the former name of the Cadets, drum and bugle corps.



Garfield Grip

Cymbal Holding Positions

The hand-cymbalist is not only concerned with sound production but visual effects, rest positions, and instrumental carriage during performance. In each case, the way the cymbals are held is as important as how they are played. The following section illustrates a variety of cymbal holding positions used at rest, while playing, and for visual effects. These positions were devised for two reasons:

  • To create a means of ensuring visual uniformity.
  • To improve the consistency of sound production by utilizing predetermined starting and stopping points.

Cymbal Rudiments

The cymbals provide an arranger with a wide variety of sounds with which to choose from. The main cymbal rudiments are crashes, chokes, hi-hats, and fusions.

Crashes

Crashes are by far the most common cymbal rudiment. With the cymbals held in the up position, the cymbals move slightly away from each other, not away from the body. The inside edges move first, followed by the outside edges. This is known as the prep motion. As the cymbals move towards each other, the inner edge (closest to the body) of the right cymbal should strike the left cymbal slightly before the outer edge in a flam-like effect. Too open of a flam will cause almost two distinct crashes, whereas too tight of a flam causes the crash to pop. Following the crash the cymbals move outward from each other and make the same motion as the prep, only not crashing. Following the rebound, the cymbals return to playing position.

Crash-Chokes

To play a choke, begin with the same prep and motion as a crash. Execute the correct crash, but instead of following through the rebound, the cymbals are pulled into the stomach or the shoulders. The key to playing a good choke is to allow the cymbals to ring long enough to produce enough sound, but to cut them off so they are shorter than crashes. When the cymbals are pulled into the body, it should be down with enough force to completely and immediately stop them from ringing.

Hi-Hats

This effect is created by bracing one cymbal in a stationary position and playing the second cymbal against it in a "hinged" motion. The sound that is desired is a short, accented popping sound, similar to the hi-hat on a drum set. The cymbals can be held in a horizontal or vertical position, or cradled in one arm, similar to the way the Statue of Liberty holds her tablet. The two cymbals are normally aligned exactly, producing the choked sound by trapping much of the air between them. A louder effect can be created by off-setting the top cymbal a bit, allowing some of the air to vent.

Fusions

Producing an open hi-hat sound, this is also referred to as a slide. The right cymbal will drive into the left, where the outer edge hits 1/2 way between the bell and the edge of the left cymbal. After the right cymbal slides up on the left, it is brought back straight into the body. The cymbal is stopped by catching the air pocket inside of the cymbals. The cymbals maintain contact at all times. The desired sound is a "sizzle then choke" effect.

Holding for the Snares

Often times, the cymbal players will hold for the snares. Different songs require either a closed hi-hat effect or ride cymbal pattern. All of the different sounds will most likely be used to emulate the sounds of a drum set. For hi-hat effects, hold the cymbals horizontally, with the right hand over the left. Hold the cymbals slight off-set, to allow for more of a sizzle sound. When holding for cymbal ride, the cymbals can be held either over or under hand. Always hold the cymbals in a position as to allow the snare drummers to reach them easily without bending or stretching.

Instrument care

Resting instrument

Carefully rest one cymbal down on a clean, dry and NON-ABRASIVE surface. Rest the second cymbal directly on top of the first. Lift the instruments straight off of the surface without sliding. Avoid high traffic areas to eliminate the chance of someone stepping on the instruments.

Cleaning the instrument

Before each performance, cymbals should be polished to a high luster so that there is an absence of fingerprints on both sides of the cymbal. To make this easier, use gloves when handling the instruments. Polish the cymbals with a non-abrasive brass cleaner. Follow the directions on the product.