At the request of the hangbuilders from PANArt the hangblog publishes two new Hang papers written for the International Symposium on Musical Acoustics, ISMA 2007, 9-12th September in Barcelona, where the Hang was presented by Felix Rohner, Sabina Schärer and Thomas D. Rossing.
Zur deutschen Version dieses Artikels
In western music overtones are experienced as an aspect of the timbre of a musical instrument. In Asian music overtones are listened as discrete tones above the fundamental frequency. Overtone singers use the overtones of the human voice to create melody lines above the fundamental tone.
The Hang is a musical instrument with strong overtones. The Ding and each tone field are tuned in a special way. Besides the fundamental frequency the first and second overtone, the octave and the compound fifth are tuned in.
You can discover these overtones by tapping on different areas of the tone fields. After Exploring the Hang’s overtones, you will begin to hear the overtone music above your Hang music.
To the English version of this article
Das Hanglexikon wurde zuletzt aktualisiert am 16.11.2008.
Das Hanglexikon bietet kurze Erklärungen zu alphabetisch geordneten Stichworten, die im Zusammenhang mit dem Hang verwendet werden. Wenn du ein Stichwort vermisst, zu dem du Erläuterungen brauchen könntest, melde deinen Bedarf in einem Kommentar unterhalb dieses Artikels an.
They are on their journey through the universe …
Here you can download a Flying Hanghang Wallpaper (1024×768 Pixel).
Zur deutschen Version dieses Artikels
From 2006 to 2007 a new generation of Hanghang was built. Mostly the ding is tuned in D (the instruments of the first generation was tuned in A, G or F in most instances). Most of the instruments have seven tones in the tone loop.
To the English version of this article
Von 2006 bis 2007 wurde eine neue Generation des Hangs gebaut. Der Kuppelton Ding dieser Instrumente ist meist auf D gestimmt. Im Tonkreis befinden sich bei den meisten Instrumenten 7 Töne.
It seldom happens, that different versions of the hang are together in one place at the same time. A few days ago such a rare moment took place when I visited PANArt in Bern and found a lonely 2006 built hang among the crowd of 2007 built instruments in the Hanghaus. Having my first generation hang with me I used the golden opportunity to take a picture of almost the whole hang family.
Nine days ago I recorded “The Day Church Bells Became Aware Of Their Profane Hearts And Decided Not To Sing For The Glory Of God Any Longer” with a small voice recorder. Now my new recording equipment, a Rode NT1-A condenser microphone and an ART Tube MP preamp, has arrived, my first recording atempt was to produce a higher quality version of this hypnotic piece of music.
Today I realisized a piece of music I had in mind for several months. For the recording I used a small digital voice recorder hanging 15 cm over the hang’s surface. Afterwards I utilized Power Lame to convert the wma file of the voice recorder into a wav file. Then I cut it with WaveLab Lite, a pretty little program being part of Steinberg’s Cubasis VST, and added a bass boost. Finally the wav file was converted into mp3 with Power Lame. In view of this minimalist “studio technique”, the sound quality of the recording seems not good but passably satisfying.
“The Day Church Bells Became Aware Of Their Profane Hearts And Decided Not To Sing For The Glory Of God Any Longer” is a piece of program music and follows the idea of minimal music.
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