Hal Leonard Handpan Method

66 Pages·2020·3.484 MB·English

by  Mark D'Ambrodio, Jenny Robinson

HANDPAN METHOD
H
A HAL LEONARD
L

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A handpan is a musical instrument made of steel and played with E
O
the hands. Handpans are formed by two bowl-shaped sheets of N
A
steel fastened together to create a resonant sound chamber. The R
D
sonority of the handpan has an affective quality that some describe H
A BY MARK D’AMBROSIO
as ethereal or otherworldly. N
D
VIDEO ACCESS INCLUDED & JENNY ROBINSON
P
A
N
Most handpans have a relatively small number of notes tuned to a
M
E
single key, making them accessible to those just learning music,
T
H
while also being versatile and complex enough to challenge and O
D
inspire even the most accomplished musicians.

The HAL LEONARD HANDPAN METHOD is written for a broad range
of skill levels. Beginners will find the introductory material and
exercises necessary to develop their touch and technical skill, while
B
Y
the advanced player will find instructions on how to execute high-
M
A
level techniques, create sophisticated sounds, and build complex
R
K
patterns. The information, techniques, and theory presented in this

D
book are designed to be flexible, and can be adapted to work on ’A
M
your instrument, no matter the scale or number of notes. B
R
O
S
I
O

&

J
E
N
N
Y

R
O
B
I
N
S
O
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The price of this book includes access to
videos online, for download or streaming,
using the unique code inside!
Book $8.99, Video $6.00 = Pkg U.S. $14.99
Parts not sold separately
HL00288061
1276362_HL_Handpan_Method_CVR.indd All Pages 12/23/19 1:48 PM
HANDPAN METHOD
HAL LEONARD
BY MARK D’AMBROSIO
& JENNY ROBINSON
To access video visit:
www.halleonard.com/mylibrary
ISBN 978-1-5400-4431-0
Copyright © 2019 by HAL LEONARD LLC
International Copyright Secured All Rights Reserved
No part of this publication may be reproduced in any form or by
any means without the prior written permission of the Publisher.
Visit Hal Leonard Online at
www.halleonard.com
Contact us: In Europe, contact: In Australia, contact:
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Email: [email protected] Email: [email protected] Email: [email protected]

CONTENTS
Page
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Handpan Sound Models (Basic) . . . . . . . . . . . . . . . . . . . . . . . 4
BEFORE YOU BEGIN . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
HANDPAN ANATOMY . . . . . . . . . . . . . . . . . . . . . . . . . 6
Tips and Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
READING THE TABLATURE . . . . . . . . . . . . . . . . . . . . . . 8
Sticking and Fingering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Special Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Adapting Exercises for Your Handpan . . . . . . . . . . . . . . . . . . 9
STAGE 1: DISCOVERY . . . . . . . . . . . . . . . . . . . . . . . . . 10
Playing Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Developing Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Touch Development Exercises . . . . . . . . . . . . . . . . . . . . . . . .13
Two-Note Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Playing Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Other Introductory Techniques . . . . . . . . . . . . . . . . . . . . . . . 25
Seven-Note Handpan Etude No . 1 . . . . . . . . . . . . . . . . . . . . 26
Eight-Note Handpan Etude No . 1 . . . . . . . . . . . . . . . . . . . . . 28
STAGE 2: DEVELOPMENT . . . . . . . . . . . . . . . . . . . . . . 30
Percussive Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Creating a Groove . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Fills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Hand Coordination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Rotation Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Flams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Intermediate Playing Techniques . . . . . . . . . . . . . . . . . . . . . 45
Seven-Note Handpan Etude No . 2 . . . . . . . . . . . . . . . . . . . . 46
Eight-Note Handpan Etude No . 2 . . . . . . . . . . . . . . . . . . . . . 49
STAGE 3: COMPETENCY . . . . . . . . . . . . . . . . . . . . . . . 51
Advanced Playing Techniques . . . . . . . . . . . . . . . . . . . . . . . .51
Handpan Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Strategies for Composition . . . . . . . . . . . . . . . . . . . . . . . . . 53
Playing with Other Musicians . . . . . . . . . . . . . . . . . . . . . . . 54
Afterword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Seven-Note Handpan Etude No . 3 . . . . . . . . . . . . . . . . . . . . 56
Eight-Note Handpan Etude No . 3 . . . . . . . . . . . . . . . . . . . . . 59
GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
ABOUT THE AUTHORS . . . . . . . . . . . . . . . . . . . . . . . . 64
INTRODUCTION
A handpan is a musical instrument made of steel and played with the hands. Handpans are formed by two bowl-shaped
sheets of steel fastened together to create a resonant sound chamber. The sonority of the handpan has an affective quality
that some describe as ethereal or otherworldly. Most handpans have a relatively small number of notes tuned to a single
key, making them accessible to those just learning music, while also being versatile and complex enough to challenge and
inspire even the most accomplished musicians.
The handpan is one of the few new acoustic instruments developed in the 21st century. The first of these instruments were
designed and produced in Switzerland in the early 2000s, but the handpan can trace its origins to the steelpan instruments
developed in Trinidad and Tobago in the 1940s and other percussive and resonating instruments. While the approach to
playing the handpan is a bit different from a traditional steelpan, the tuning and instrument design are similar.
Instrument design and construction has been refined over time and is still evolving. Almost all handpans are constructed
largely by hand and put into tune using a series of precise hammer blows. The handpan builder is able to tune the notes
on the instrument to a range of different pitches, thus creating a wide variety of scales. The information, techniques, and
theory presented in this book are designed to be flexible, and can be adapted to work on your instrument, no matter the
scale or number of notes.
This book is written for a broad range of skill levels. Beginners will find the introductory material and exercises necessary
to develop their touch and technical skill, while the advanced player will find instructions on how to execute high-level
techniques, create sophisticated sounds, and build complex patterns.
HANDPAN SOUND MODELS (BASIC)
Fig. 1: Seven-Note Handpan Fig. 2: Eight-Note Handpan
4
BEFORE YOU BEGIN
Congratulations on beginning your journey into the world of the handpan! This book will help you develop skills in touch,
dexterity, and musicality, while providing a canvas on which to begin exploring songwriting and improvisation on this one-
of-a-kind instrument.
This text is presented in three distinct stages: 1) Discovery, 2) Development, and 3) Competency. These stages are designed
to build on each other, introducing an increasingly refined set of skills.
STAGE 1: DISCOVERY
Take time to get to know your handpan rather than rushing through the exercises in the book. Don’t be afraid to make mistakes,
experiment, and listen to your musical intuition. Concentrate on creating sound and get comfortable playing your new handpan.
Learning objectives:
• Learn how to position yourself in relation to your instrument.
• Begin finding sounds on your instrument.
• Be able to play ascending and descending scales.
STAGE 2: DEVELOPMENT
Formalize your practice, begin to refine your touch, and become increasingly fluid as a player. Explore the world of the handpan,
observe what other players are doing, and determine what you like about their various playing styles. Break these elements down
and add them into your own musical toolkit. With increasing practice, you will be able to incorporate diverse playing styles.
Learning objectives:
• Explore more complex sounds.
• Develop complete rhythmic patterns.
• Experiment with “fills.”
STAGE 3: COMPETENCY
Build fluency in the musical language of the handpan. Begin to communicate musically with other musicians and be able
to realize your musical voice. The learning process never completely ends, but when you become a competent player, you
have reached a milestone of independence in your musical journey.
Learning objectives:
• Master advanced playing techniques.
• Experiment with improvisation.
• Build structured songs.
• Develop your own voice and style.
Good luck on the beginning of your musical adventure. Let this book help guide and inspire you to develop fresh ideas and
unique approaches to the handpan. To help you along, terms in bold are defined in the glossary at the end of the book.
5
HANDPAN ANATOMY
A handpan is constructed of two bowl-shaped metal sheets fastened together in a spherical shape. The top of the handpan
usually features seven, eight, or nine tonefields arranged in a circle around one central note (Fig. 3). The central note has
a dome and at the center of each of the tonefields is a dimple. Notes along the outside of the instrument are arranged in a
zig-zag orientation that ascends and descends in pitch following a natural alternating pattern of the hands.
Handpans are most often classified by the number of tonefields arranged in the outer circle (tonecircle), excluding the
central note. Every handpan has a central note, regardless of the number of notes in its tonecircle. Therefore, instruments
with eight total notes are referred to as seven-note instruments. Some custom instruments are built to accommodate more
than nine notes and can occasionally have notes on the bottom as well.
Fig. 3: Top
Fig. 4: Bottom
6
Each tonefield has a complex double-curve shape that conveys the unique tonal qualities of the instrument. Below is a 3D
rendering of a tonefield (Figs. 5 & 6).
The shape of the note and the stiffness of the steel creates frequencies that are audible when the note rings. Alignment
among the frequencies produces a good-sounding note. Most handpan notes are built to resonate with a fundamental
tone, an octave harmonic, and a compound fifth harmonic. The frequencies that ring from each note and their subsequent
interactions is what gives the handpan the rich and chorus-like sound that is so enjoyable. (See sympathetic resonance.)
Handpans are open resonant chambers. The bottom contains a port that allows sound to resonate (Fig. 4). This port can
also be played to create deep percussive bass tones. (See cavity resonance.)
Inside view Outside view
Fig. 5: Handpan note construction Fig. 6: Handpan note construction
Handpan scales are usually partial expressions of a common key, scale, or mode. Since there is no single standard model,
the notes on a handpan can vary from instrument to instrument.
TIPS AND MAINTENANCE
• The steel of some handpans is specially heat-treated to make the instruments resistant to corrosion, but
environmental conditions still affect the propensity for the instrument to rust. Keep your instrument clean, dry,
and avoid storing it in humid conditions.
• Always ask the builder of your instrument how best to care for your instrument. All instruments are different
and may need different maintenance and care.
• It is best not to store your instrument in its case for extended periods. If you must do so, you should facilitate
airflow by unzipping the case and reduce moisture by adding a packet of desiccant.
• Play your instrument with care. Avoid heavy-handed strikes and never play with sticks, mallets, or other
percussion accessories; such things may change the tensions in the steel and compromise the tuning.
• A well-built instrument should stay in tune for several years or longer. Re-tuning of an instrument should be
done only by a professional, and by the original builder whenever possible.
• Avoid temperature extremes; direct sunlight may temporarily distort the instrument’s tuning as the heat acts
on the material.
7
READING THE TABLATURE
The following system is the result of a mixture of rhythmic-based tablature standards, which have been adapted for the
particular complexities of the handpan. Notes are designated by numbers ascending from lowest to highest pitch (Fig. 1).
The central, lowest note is always designated as zero (0) with the notes of the tonecircle ascending upward from one (1).
The pitches of these numbers vary from handpan to handpan with different tunings.
Fig. 1: Instrument notation Fig. 7: Digit notation
STICKING AND FINGERING
The letters L and R are written below the tab lines indicating a left- or right-hand strike.
Characters t, i, m, r, and p placed below the tab indicate the specific finger used to play each note.
• t – Thumb
• i – Index
• m – Middle
• r – Ring
• p – Pinky
When absent, the choice of sticking and/or fingering is left to the player’s discretion.
8
SPECIAL CHARACTERS
• Sounds like taks, interstitial clicks, fist strokes, etc. are indicated with special characters on the staff in place
of the note number. These are discussed in detail as they are introduced later in the book.
• Articulations and other musical markings are contained above or on the staff as with any other standard notation.
RHYTHM
• The lines found above the staff are broken rhythmic stems and indicate the rate of speed at which the notes are
moving. Quarter notes, 8th notes, and any other note durations are indicated here in standard rhythmic notation.
ADAPTING EXERCISES FOR YOUR HANDPAN
• If your handpan has a larger number of notes than the tablature, your central note will still be zero (0), and you
will not play the notes above the highest number in the notation.
• If your handpan has a smaller number of notes, you may have to skip over the notes that aren’t present on your
instrument. (This may involve slightly adapting the rhythm or structure of some exercises.)
Ascending and descending the handpan using the index fingers starting on the left hand at the rate of an 8th note:
8
7 7
6 6
 5 5
 4 4
3 3
2 2
 1 1
0
L R L R L R L R L R L R L R L R
i i i i i i i i i i i i i i i i

 
 X X  0   H8 H5 H5 0
1 2 3 4 5 6 7 8 9 10
1 - Tak 6 - Helmholtz stroke
2 - Ghost note 7 - Octave harmonic
3 - Interstitial click 8 - Compound 5th harmonic
4 - Dead stroke 9 - Pitch bend (on compound 5th harmonic)
5 - Fist stroke 10 - Waved note
9