Art-of-Playing-Cymbals.pdf

© 2011 by Sam Denov. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission permission from the author.

Addendum The Art of Playing the Cymbals was originally published in1963 by Henry Adler of New York, NY. What you have just just read is a copy of that original original work.

In that work, the location of the Avedis Zildjian Company plant was shown then as being in North North Quincy, MA. The plant is now located in Norwell, MA. In addition, the secret formula for mixing the bronze used in the manufacture of Zildjian cymbals is no longer passed down to the eldest living male heir in each generation, but to the eldest living heir, regardless of gender. The Zildjian Company also has the distinction of being the oldest oldest family owned business in the United States. An important principle for the production of cymbal crashes has also been omitted application of the Laws of Motion discovered by Sir from the original work. work . That is the application Isaac Newton. To achieve the greatest sound quality and volume in a crash, both both cymbals must be moving moving in contrary motion, motion, as shown in the photo-diagrams. In that movement, each cymbal is not only striking the other, but is also being struck. The vibration achieved when applying this principle is far superior to any other application. Below is a review of the original publication of this book by the Director of Bands at the University of Massachusetts that was written for Amazon.com in 1999, entitled “Cymbalic Musicianship!” “This review is from: Art of Playing the Cymbals (Mass Market Paperback) ***** Paperback) ***** More than four decades ago, ago , Dr. William D. Revelli, Director of Bands at the t he University of Michigan, invited Sam Denov to present a clinic in Ann Arbor. At that time, t ime, Mr. Denov was percussionist and cymbal specialist with the Chicago Symphony Orchestra. As a young band-director-to-be, I learned in two short hours that t hat the cymbals were musical instruments to be played and phrased every bit as much as my trumpet. As Director of Bands at the University of o f Massachusetts, this little book soon became my constant companion. In just a few words and pictures, it provided each of my percussionists exactly what they needed to know to practice intelligently and perform with good taste. This is one of the most important texts for every percussion techniques class for music educators, and recommended for experienced percussion teachers as well. All too few musicians understand and appreciate the musical power of the cymbals. This book will help you become one who does!”