I'm curious about the use of "crash cymbals" versus "clash
symbols." As I said, in classical circles, I have always heard
(and used) "crash cymbals" to mean hand-held cymbals. I have never
heard the term "crash cymbals" applied to suspended cymbals except
in jazz circles. However, if "clash cymbals" is widely used and
understood, it might be preferable to avoid confusion with the jazz
term.
I don't use the term Clash Cymbals either and it is not often
used....but technically, the way I understand it, that is what they
are. I have seen "Crash Cymbals" used before....that is not unsual...
For me personally, and to avoid confusion (time is money on the
scoring stage)...I was taught to use "Piatti" and "Sus Cymbal" and
leave the whole Crash Cymbal thing out. (Additional terms I use and
have seen used with Sus Cymbal are "Lg., Med, or Sm.", "w/hard
mallets", "w/soft mallets", "scrape", "w/superball", "bowed", "w/stick")
When writing a Drum kit part, I use Crash Cymbal (Cr.) Ride Cymbal
(Ride), Hi-Hat (H.H.) etc.
Here this article explains the way it was explained to me (w/ source
link):
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(snip) Crash cymbals:
Orchestral crash cymbals are traditionally used in pairs, each one
having a strap set in the bell of the cymbal by which they are held.
Such a pair is known technically as a pair of clash cymbals, although
this term is rarely used, see clash cymbals. They are confusingly
sometimes referred to simply as crash cymbals, although this term
properly applies also to some suspended cymbals.
The sound is obtained by rubbing their edges together in a sliding
movement rather than by clashing them against each other as laymen
often suppose. A skilled player can obtain an enormous dynamic range
from such a pair of cymbals. For example, in Beethoven's ninth
symphony, one of their first appearances in an orchestral work, they
make their entry pianissimo, adding a touch of colour rather than an
almighty crash.
Clash cymbals are usually damped by pressing them against the
player's body. A composer may write "Let them vibrate"(l.v.),
sec" (short) or equivalent indications on the score; more usually,
the player must judge exactly when to damp the cymbals based on the
written duration of crash and the context in which it occurs.
Clash cymbals have traditionally been accompanied by the bass drum
playing an identical part. This combination, played loudly, is an
effective way to accentuate a note since the two instruments together
contribute to both very low and very high frequency ranges and
provide a satisfying "crash-bang-wallop". In older music the composer
sometimes provided just one part for this pair of instruments,
writing senza piatti, or piatti soli if the bass drum is to remain
silent. However, the modern convention is for the instruments to have
independent parts.
Clash cymbals evolved into the low-sock and from this to the modern
hi-hat. Even in a modern drum kit, they remain paired with the bass
drum as the two instruments which are played with the player's feet.
However, hi-hat cymbals tend to be heavy with little taper, more
similar to a ride cymbal than to a crash cymbal as found in a drum
kit, and perform a ride rather than a crash function. (snip)
http://www.answers.com/topic/cymbal
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Have a good weekend everyone!
Best,
Karen
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