See also:

• CYMBALS (Fr. cymbales; Ger. Becken; Ital. piatti or cinelli)

CYMBALS (Fr. cymbales; Ger. Becken; Ital. See also:

• PIATTI, CARLO ALFREDO (1822-1901)

piatti or cinelli)  , a See also:

• MODERN

modern See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument of percussion of indefinite musical See also:

• PITCH
• PITCH, MUSICAL

pitch, whereas the small See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

cup-shaped See also:

• CYMBALS (Fr. cymbales; Ger. Becken; Ital. piatti or cinelli)

cymbals sounded a definite See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note . Cymbals consist of two thin See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round plates of an alloy containing 8 parts of See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper to two of See also:

• TIN (Lat.- stannum, whence the chemical symbol " Sn "; atomic weight =117.6, 0=16)

tin, each having a handle strap set in the little knob surmounting the, centre of the See also:

• PLATE

plate . The See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound is obtained not by clashing them against each other; but by rubbing their edges together by a sliding See also:

• MOVEMENT

movement . Sometimes a weird effect is obtained by suspending one of the cymbals by the strap and letting a drummer execute a See also:

• ROLL (O. Fr. rolle, roulle, mod. role, Lat. rotulus, dim. of rota, wheel)
• ROLL, ALFRED PHILIPPE (1846– )

roll upon it as it swings; or by holding a cymbal in the See also:

• LEFT

left See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand and striking it with the soft stick of the See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass See also:

• DRUM (early forms drome or dromme, a word common to many Teut. languages, cf. Dan. tromme, Ger. Trommel: the word is ultimately the same as " trumpet," and is probably onomatopoeic in origin; it appears late in Eng. about the middle of the 16th century)

drum, which produces a sound akin to that of the See also:

• TAM, JACOB BEN MEIR (1100-1171)

tam-tam . All gradations of piano and forte can be obtained on the cymbals . The composer indicates his intention of letting the cymbals vibrate by " Let them vibrate," and the contrary effect by " See also:

• DAMP

Damp the sound . To stop the vibrations the performer presses the cymbals against his See also:

• CHEST (Gr. Kiarl, Lat. cista, O. Eng. cist, test, &c.)

chest, as soon as he has played a note . The duration of the vibration is indicated by the value of the note placed upon the See also:

• STAFF (O. Eng. staef, cf. Du. staf, Ger. Stab, &c.; Icel. stafr meant also a written letter, and O. Eng. stafas, the letters of the alphabet; " stave," one of the thin pieces of wood of which a cask is made, is a doublet)

staff; the name signifies nothing, since the pitch of the cymbals is indefinite . The instrument is played from the same See also:

• PART

part of the See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score as the bass drum, unless otherwise indicated by senza See also:

• PIATTI, CARLO ALFREDO (1822-1901)

piatti, or piatti See also:

• SOLI
• SOLI (mod. Mezetlii)

soli if the bass drum is to remain silent . Although cymbals are not often required they See also:

• FORM (Lat. forma)

form part of every See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra; their See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief use is for marking the See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm and for producing weird, fantastic effects or adding military See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, and their s'hrill notes hold their own against a full orchestra playing fortissimo . Cymbals See also:

• ATE

ate specially suited for suggesting frenzy, fury or bacchanalian See also:

• REVELS, MASTER OF THE

revels, as in the See also:

• VENUS

Venus See also:

• MUSIC

music in See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

Wagner's Tannhduser and See also:

• GRIEG, EDVARD HAGERUP (1843--1907)

Grieg's Peer Gynt See also:

• SUITE (Suite de pieces; Ordre; Partita)

suite . Damping gives a See also:

• SUGGESTION

suggestion of impending evil or tragedy .

The' timbre of the ancient cymbals is entirely different, more like that of small handbells or of the notes of the keyed See also:

• HARMONICA

harmonica . They are not struck full against each other, but by one of their edges, and the note given out by them is higher in proportion as they are thicker and smaller . See also:

• BERLIOZ, HECTOR (1803-1869)

Berlioz in Romeo and Juliet scored for two pairs of cymbals, modelled on some ancient Pompeian See also:

• INSTRUMENTS

instruments no larger than the hand (some are no larger than bR- a See also:

• CROWN

crown piece), and tuned to and The origin of the cymbals must be referred to prehistoric times . The ancient See also:

• EGYPTIAN

Egyptian cymbals closely resembled our own . The See also:

• BRITISH

British Museum possesses two pairs, 5i in. in See also:

• DIAMETER (from the Cr. &a, through, µErpov, measure)

diameter, one of which was found in the See also:

• COFFIN (from Lat. cophinus, Gr. K64wos, a coffer, chest or basket, but never meaning " coffin " in its present sense)

coffin of the See also:

• MUMMY (from the Persian mumiai, pitch or asphalt)

mummy of Ankhhape, a sacred musician; they are shown in the same See also:

• CASE
• CASE, JOHN (d. 1600)

case as the mummy, and have been reproduced by Carl See also:

• ENGEL, ERNST (1821-1896)
• ENGEL, JOHANN JAKOB (1741-1802)

Engel.' Those used by the Assyrians were both plate- and cup-shaped . The See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek cymbals were cup-or See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

bell-shaped, and are to be seen in the hands of fauns and See also:

• SATYRS (SATYRI)

satyrs innumerable in sculptures and on painted vases . The word cymbal is derived from Kbgi3i (See also:

• LAT

Lat. cymba), a hollow See also:

• VESSEL (O. Fr. vaissel, from a rare Lat. vascellum, dim. of vas, vase, urn)

vessel, and Kug$See also:

• AAA

aAa= small cymbals . During . the See also:

• MIDDLE

middle ages the word cymbal was applied to the See also:

• GLOCKENSPIEL, or ORCHESTRAL BELLS (Fr. carillon; Ger. Glockenspiel, Stahlharmonika; Ital. carnpanelli; Med. Lat. tintinnabulum, cymbalum, bombulum)

Glockenspiel, or peal of small bells, and later to the See also:

• DULCIMER (Fr. tympanon; Ger. Hackbrett, Cymbal; Ital. cembalo, timpanon or salterio tedesco)

dulcimer, perhaps on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the clear bell-like See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone produced by the hammers striking the See also:

• WIRE (A.S. wir, a wire; cf. Swed. vire, to twist, M.H.G. wiere, a gold ornament, Lat. viriae, armlets, ultimately from the root wi, to twist, bind)

wire strings . After the introduction or invention of the keyed dulcimer or See also:

• CLAVICHORD, or CLARICHORD (Fr. manicorde; Ger. Clavichord; Ital. manicordo; Span. manicordio1)

clavichord, and of the See also:

• SPINET, or SPINNET (Fr. espinetle or epinette; Ger. Spinett; Ital. spinetta)

spinet, the word clavicymbal was used in the See also:

• ROMANCE

Romance See also:

• LANGUAGES

languages to denote the varieties of spinet and See also:

• HARPSICHORD, HARPSICON, DOUBLE VIRGINALS (Fr. clavecin; Ger. Clavicymbel, Kiel-Flugel; Ital. arpicordo, cembalo, davicembalo, gravecembalo; Dutch, davisinbal)

harpsichord . Ancient cymbals are among the instruments played by See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David and his musicians in the 9th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century illuminated MS. known as the See also:

• BIBLE
• BIBLE, ENGLISH

Bible of See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles the Bald in the Bibliotheque Nationale, See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris . (K .