Na Hang Có Gì đẹp
Raul Herrera
The Hang (.mw-parser-output .IPA-label-smallfont-size:85%.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-smallfont-size:100%German pronunciation: [haŋ];[1] plural form: Hanghang)[2] is a type of musical instrument called a handpan, fitting into the idiophone class and based on the Caribbean steelpan instrument. It was created by Felix Rohner and Sabina Schrer in Bern, Switzerland. The name of their company is PANArt Hangbau AG.[3] The Hang is sometimes referred to as a hang drum, but the inventors consider this a misnomer and strongly discourage its use.[4]
The instrument is constructed from two half-shells of deep drawn, nitrided steel sheet[5][6] glued together at the rim leaving the inside hollow and creating the shape of a convex lens. The top ("Ding") side has a center 'note' hammered into it and seven or eight 'tone fields' hammered around the center. The bottom ("Gu") is a plain surface that has a rolled hole in the center with a tuned note that can be created when the rim is struck.
The Hang uses some of the same basic physical principles as a steelpan, but modified in such a way as to act as a Helmholtz resonator.[7] The creation of the Hang was the result of many years of research on the steelpan and other instruments.[8] The inventors of the Hang have continued to refine the shape and materials and have produced several variations over the years.
The name Hang comes from a Bernese German word that has a double-meaning, one of which is hand and the other hillside[9] referring to its convex shape. It is a registered trademark and property of PANArt Hangbau AG.[10]
The Hang is typically played resting on the player's lap. The Hang is generally played with the hands and fingers instead of mallets. This lighter means of playing produces a softer and warmer sound than the bright sound of a mallet-based traditional steelpan.
The top (Ding) side of the Hang, depending on how it is played, can sound like a harp, bells, or harmonically tuned steelpans. The notes are laid out in a cross pattern in the tone circle from low to high so that with a specific orientation of the Hang, the player can ascend or descend the scale by alternating using the left and right hands to strike the tone fields. Each tone field has multiple overtones oriented specifically in the flattened field with a dome at the center. Typically there is a fundamental tone, an overtone tuned to an octave above that fundamental, and an additional overtone a perfect fifth above that octave (twelfth or tritave). The orientation is fairly consistent across the fields on each Hang so that the overtones can be highlighted, muted, or extracted based on how and where the player strikes the tone field.
The Hang was developed in 2000 and introduced at the Musikmesse Frankfurt in 2001. It is 52 cm (20 in) in diameter and has a height of 24 cm (9 in). The two deep drawn steel hemispheres of the Hang are hardened by a process known as gas nitridization. The side considered the bottom has an opening (Gu) in the center, which allows the generation of the bass note through Helmholtz resonance. When it is played in a damped way it can change in pitch similar to a talking drum. On the top are seven or eight notes arranged in a tone circle in zigzag fashion from low to high. All are tuned harmonically (with fundamental, octave and the fifth above the octave) around a low note (Ding) at the center of the tone circle. Each creation is numbered and signed.[11]
In the spring of 2006 the Hang makers presented a new generation of Hang. The new generation instruments (often referred to as second generation) have a surface coating of annealed brass over the nitrided steel as well as a ring of brass around the circumference of the Hang. From the many different scales the Hang makers reduced to a structure with one type of central note (Ding) at D3. All new generation models have two A notes (A3 and A4) as well as another D (D4) in the tone circle around the Ding.[13] The remaining notes were mixed into several different configurations. The majority of second generation Hanghang were built with seven tone fields in the circle. Older Hanghang had tone fields with the oval indentation oriented radially towards the Ding, with the 2007 models (as well as the Integral Hang) the tone fields are angled at about 45 from a line drawn from the Ding to the edge. They also started marking the individual serial number on the inside of the Gu opening and signing each Hang at the outside edge of the Gu side of the Hang. No sound model names were officially given to the second generation models.
By developing the Integral Hang, Rohner and Schrer distanced themselves from the idea of building an instrument for the needs of professional musicians.[15] Their aims and ambitions were published in a 'Letter from the Hangbauhaus': .mw-parser-output .templatequoteoverflow:hidden;margin:1em 0;padding:0 32px.mw-parser-output .templatequote .templatequoteciteline-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0
Our concepts, developments and implementations are far from the musical norms of modern times that require study, practice and performance. Playing with this Hang can lead to a form of freedom, an intimate conversation that can only unfold without pressure and coercion. If individuals are aware of this concept, they will be strengthened by this Hang. Thoughtless use can weaken a person.[4]
This model has been available since April 2010. Compared to its predecessor, the Free Integral Hang features a few construction changes. First of all, there is no longer a brass ring around the seam connecting the ding and gu shells. Furthermore, the dome of the ding is not brass-coated anymore and is characterized by a double offset (a triple dome).[16] The Free Integral Hanghang are tuned without the use of tuning devices. The pitch of the Ding differs from one instrument to another and varies around the tone D3. The tones in the tone circle relative to the Ding correspond to those of the Integral Hang.[17]
In the free tuning of a Hang, the focus is not about the precise mathematical frequency ratios of the partials of a tone field, but on the impact of the entire sound.[18] Trinidad's steelpan tuners already slightly detuned partial tones to attain the characteristic sound of their own instruments. In an acoustic-mathematical analysis, Anthony Achong substantiated that this detuning is the most important parameter in influencing the structure of a steelpan tone: the duration of the partials as well as the amplitude and frequency modulations.[19][self-published source]
As of December 2013 PANArt announced[20] that the Hang would no longer be made, as the PANArt tuners were completely concentrated on a new different instrument, the Gubal.[21] In the following years PANArt developed a number of other instruments called Hang Gudu, Hang Urgu, Hang Bal and Hang Gede as well as a number of string instruments and created a collective improvised music form played with these Pang instruments.[22][23]
5 reeds, 4 trumpets, 3 trombones, 1 bass trombone, piano, guitar, bass, drums and optional percussion. The flute passage in reeds 3, 4, 5 are very minimal... you could leave it out if you had to. We included an accordion part in case you find yourself doing other pieces of mine with accordion.
Recorded on Allegrsse, "Hang Gliding" was written about my hang gliding experience in Rio de Janeiro. The wish I had in writing this was to create the feeling of flying in sound. Not only did my experience of hang gliding in Brazil influence the writing of this piece, but so did being exposed to a lot of Brazilian music through the many generous people I met in Brazil.
This is one of my more harmonically/rhythmically intricate pieces, but the basic "ideas" are actually very few. It's a good score to look at when trying to learn about "development" in big band writing and long-form, through-composed composition in jazz. Both solos are written on very different material, and they both offer big challenges for soloists.
I've found all sorts of things to add to the offer: many of my sketches, interviews with musicians who have recorded or performed this music, a slide-show of my terrifying/inspiring hang gliding experience in Rio, and a rather fiery video version of "Hang Gliding" made in 2008 at the Monterey Jazz Festival, eight years after we recorded it as the opening piece on Allegrsse, and finally, I've included a video where I talk about the writing of this piece.
See full selection of Study Scores (individual, or by album).
We have taught students aged 4-92, male and female, physically fit and physically challenged. In fact, we can accommodate paraplegics, blind, deaf and other persons physically challenged. We provide beginner, intermediate and advanced instruction.
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