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The handpan is a new kind of instrument. This is a very special circumstance in this day and age, because most instruments have a tradition that is at least decades, if not centuries old. The handpan, however, only saw the light of day about 20 years ago. There are hardly any textbooks and no techniques have yet been established as a basis for this instrument. So we who are learning and playing this instrument now are, in a sense, pioneers in the development of the future fundamentals. What a privilege! At the moment we are using the techniques of older percussion instruments such as the frame drum or even the djembé. This still unexplored starting point offers us creativity and freedom to implement ideas without having to argue against already established views and rules. I find this a very creative and musical starting point. So there are many different approaches to playing the handpan. I would like to introduce you to this instrument from the point of view of a drummer and percussionist. When I want to get creative with the handpan, I first play a rhythm. From that, I start to create a melody. I sort of orchestrate my rhythm, which is the foundation. This approach to handpan playing seems very sensible and understandable to me, also because there are many different scales (tunings) and it would therefore be difficult to formulate exercises based on the harmonies of an instrument. I work out rhythms on the handpan with you and give you input on how you can let your own creativity flow in, so that your own music emerges. By the end you should be able to form your own rhythms and expand them into small compositions. The handpan is sometimes dismissed as an esoteric hippie instrument and unjustly ridiculed. But the handpan offers a variety of possibilities and can be a complex percussion instrument. Compared to a normal drum with one bass and one rim beat (admittedly somewhat casually formulated), the handpan has 9 tone fields. If we also take into account the different nuances of the tone fields, we have a great wealth of percussive sounds that exceeds the variety of most drums. So if you want to, you can challenge yourself quite a bit with your handpan!
In this book we work through a variety of rhythms on the handpan and show how you can let your creativity flow by forming your own rhythms and expanding them into small compositions. Kay has been active for 20 years as a drummer and experimental percussionist in various formations and projects, he teaches workshops and accompanies music and theatre productions in Europe and Asia. He became known with "Bubble Beatz", a duo that alienates all imaginable materials to drums.
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