After a pair of orchestral cymbals collide, the bronze continues to sound through many complex modes of vibration. If the player does nothing, the bright decay may last for several seconds, covering later woodwind or string entries and turning a written rest into a metallic haze. A crash is therefore not complete at impact; ending the sound is part of the performance.
A common method is to bring an edge or part of the cymbal gently against the chest so that the body and clothing absorb vibration. Earlier contact over a larger area produces a more abrupt cutoff. Waiting briefly, or increasing contact gradually, preserves more of the natural decay. A notated choke calls for an almost immediate stop, but an ordinary rest still requires judgement about tempo, hall acoustics and orchestral texture. Every resonance should not be shortened to the same duration.
The revealing moment is the time after impact. A climax may need resonance to spread and enlarge the space; a compact accent may need to clear the way at once. The cymbal player is not passively waiting for metal to become quiet, but shaping the boundary of the sound. The principle resembles piano pedalling: release is not cleanup after the musical act. It belongs to the phrase itself.
Sources: https://www.vsl.co.at/academy/percussion/cymbals
https://ae.zildjian.com/education/concert-cymbals-101-lesson-series-with-james-campbell/
https://pas.org/publication-articles/basic-concepts-for-teaching-crash-cymbals/
ScoreFlow
If you would like to bring these ideas about listening, understanding, and practice to the keyboard, you might try ScoreFlow, an app I developed to make score reading and daily practice flow more naturally together.
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