Louis System of Handpan Notation: Whitepaper
(How to Write Handpan Music)
fig. 8
Due to the unconventional and largely nonstandard design of the handpan instrument, notating music for the handpan has been, historically, challenging. While writing music that can be played on handpan(s) can be done using existing methods of Western music notation, in doing so we must assume that to be feasibly replicated the performer must either have access to a handpan in the exact configuration as the composer intended (if the composer was writing with a specific handpan layout in mind at all) or that the performer must have access to enough handpans in varying keys/layouts to be able to perform the music accurately using a combination of handpans.
Where traditional Western notation falls short when writing for the handpan is in the ability to notate geometric-pattern-based sequences which may be used to denote exercises, grooves, or even entire songs that are not pitch specific and thus may be replicated on any handpan regardless of its key, layout, or number of notes.
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While there have been attempts at creating a non-pitch-specific method of notation for handpan in the past, most systems fall short in their ability to accurately notate complex rhythms, complex articulations, and can be difficult to understand and easily notate.
Seeing this need was the inspiration behind the creation of the “Louis” system of handpan notation. The Louis system combines elements of traditional Western music notation with standards of handpan nomenclature into one system that is both easy to understand and replicate for both the experienced musician and the first-time player.
This document is a comprehensive overview of the Louis system of handpan notation which will cover a detailed explanation of how to read and use the system, the rules of notation of the system, the limitations of the system, and the future use and potential adaptations of the system.
It is my belief that this system of notation is not only necessary for the instruction and education of future handpan players but may also be an integral tool in the creation and inspiration of new handpan music as well.
- Mark D’Ambrosio
April 22nd, 2023
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Reading Louis Notation
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Louis notation can be largely viewed in two independent elements.
Element #1 Rhythmic Notation
Louis notation utilizes a single-line staff to indicate rhythm. Rhythm is notated according to traditional Western music notation standards and, therefore, is capable of denoting even the most complex rhythmic ideas. (See fig. 1)​​
fig. 1
Element #2 Pattern Notation
Located above the noteheads of the rhythmic notation is the pattern notation. (See fig. 2) This line of letters and symbols indicates which tonefields or parts of the handpan the performer will strike and what striking technique they will use. If it is desired to write a pattern that is either arhythmic or just a melodic sketch the pattern notation may be written without accompanying rhythmic notation.
fig. 2
Key of Pattern Notation Symbols
"1, 2, 3" etc. - Tonefields
Arabic numerals are used to indicate the tonefield which is to be struck. Tonefields are numbered beginning with 1 indicating the lowest pitch of the tone circle and ascending ad infinitum in correspondence with the number of notes on a handpan. (See fig. 3, fig. 4) It is important to note that the Louis system does not account for tonefields placed on the bottom shell of a handpan, these pitches will not be counted when ascribing note numbers regardless of their place in the overall scale of a handpan.
"1/3" - Two Note Chord
When two or more numbers are separated by a slash this indicates a chord. As an example “1/3" would indicate tonefields #1 and #3 would be struck and not tonefield #13.
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"1/3/5" - Three Note Chord
When two or more numbers are separated by a slash this indicates a chord. In the example of 1/3/5 tonefields #1 #3 and #5 would all be struck simultaneously.
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"1/3/5/7" - Four Note Chord
When two or more numbers are separated by a slash this indicates a chord. In the example of 1/3/5/7 tonefields #1 #3 #5 and #7 would all be struck simultaneously.
"D" - Ding/Dome
The centermost tonefield on a handpan. This is frequently referred to as the ding or simply “central note”. In the rare scenario that a handpan has more than one ding/central note “D” will be accompanied by a number to indicate which ding is to be struck. Ex. “D1” = lowest pitched ding, “D2” = second lowest pitched ding, “D3” = third lowest pitched ding.
"S" - Slap
The slap is a percussive sound in which the performer strikes the interstitial (non-tonefield) area of the handpan.
"T" - Tak
A percussive sound in which the performer strikes the edge of the shoulder of the ding/central note.
"•" - Ghost Note
A percussive sound in which the performer softly strikes the area between the tone circle and the dome of the central note. Ghost notes are similar to softly played taks and are often used to fill the space of a groove.
"F" - Fist Stroke
A percussive sound in which the performer strikes the interstitial space of the handpan with the base of the fist.
"K" - Knuckle
A percussive sound in which the performer strikes the handpan with the knuckle(s). This technique can be performed on any part of the handpan. If the composer wishes to specify a specific area to be struck with the knuckle(s) a second letter may be added to indicate such. Ex. KT (Knuckle Tak) KS (Knuckle Slap) K1 (Tonefield #1 played with knuckle(s)).
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"N" - Nail
A percussive sound in which the performer strikes the handpan with the nail(s). This technique can be performed on any part of the handpan. If the composer wishes to specify a specific area to be struck with the nail(s) a second letter may be added to indicate such. Ex. NT (Nail Tak) ND (Nail(s) on the Ding) N1 (Tonefield #1 played with Nail(s)).
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"P" - Palm Stroke
A percussive sound in which the performer strikes the ding/central note of the handpan with a flat and relaxed full palm resting on the surface as to mute the pitch.
"M" - Muted Stroke
A percussive sound in which the performer strikes a note of the handpan resting on the surface as to mute the pitch. Muted notes are indicated with an “M” followed by the pitch which is to be struck muted. E.g. M8 (Muted stroke on tonefield #8) M5 (Muted stroke on tonefield #5) M1/3/5 (Muted stroke on tonefields #1 #3 #5)
"H" - Helmholtz
A percussive sound in which the performer strikes the dome of the ding/central note in a way that activates the Helmholtz resonance of the handpan.
"H8/D" - Octave Harmonic
When “H8” is followed by a number or a D this indicates that the performer will isolate the octave harmonic of the indicated note. E.g. H8/8 (Octave harmonic on the 8th tonefield) H8/D (Octave harmonic on the Ding)
"H5/D" - Compound Fifth Harmonic
When “H5” is followed by a number or a D this indicates that the performer will isolate the compound fifth harmonic of the indicated note. E.g. H5/8 (Compound fifth harmonic on the 8th tonefield) H5/D (Compound fifth harmonic on the Ding)
"H8/DB" - Octave Harmonic Ding Bend
This indicates an isolated octave harmonic on the ding will be struck with pressure applied to the isolating finger as to bend the resulting pitch.
"H5/DB" - Compound Fifth Harmonic Ding Bend
This indicates an isolated compound fifth harmonic on the ding will be struck with pressure applied to the isolating finger as to bend the resulting pitch.
"X" - (Note to be decided by performer)
When an “X” is written this indicates that the choice of the pitch or percussive sound to be played is left to the decision of the performer. Use of the “X” symbol may be useful for patterns written with no specific handpan scale in mind so that the performer is free to choose the note/notes that sound most pleasing to them.
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Arrangement of the Tonefields
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Arabic numerals are used to indicate the tone field which is to be struck. Tonefields are numbered beginning with 1 indicating the lowest pitch of the tone circle and ascending ad infinitum in correspondence with the number of notes on a handpan. While the ding/central note is indicated in the pattern notation as “D” we can also refer to it as tonefield #0. It is important to note that the Louis system does not account for tonefields placed on the bottom shell of a handpan, these pitches will not be counted when ascribing note numbers regardless of their place in the overall scale of a handpan.
Numbering of tonefields on an 8-note handpan
fig. 3
Numbering of tonefields on a 9-note handpan
fig. 4
Sticking and Fingering
Both sticking (the order of right and left-hand strikes), as well as fingering (the finger of the hand used to strike), can be indicated in Louis notation. To indicate sticking a capital “R” (Right) or “L” (Left) can be placed beneath the note heads. (See fig. 5) To indicate fingering, the letters “t” (Thumb) “i” (Index) “r” (Ring) “m” (Middle) “p” (Pinky) can be placed underneath the note heads. (See fig. 6) Fingering will always be written in lowercase so as not to confuse it with the sticking notation. It is important to note that sticking and fingering will not always be listed in Louis notation and in its absence the choice of sticking and fingering will be left to the performer.
fig. 5
fig. 6
Placement of Sticking, Fingering, and Pattern Notation
Sticking and fingering notation will most typically be written underneath the noteheads if listed, whereas the pattern notation will most typically be placed above the noteheads. If both sticking and fingering notation are written the sticking notation will always be placed above the fingering notation.
Further Rules of Notation Engraving
Direction of Stems
As Louis notation is written on a single line staff the stems of our rhythmic notation may be written either upwards or downwards. This decision can be made at the discretion of the composer.
Articulations
Any articulations used in traditional Western notation can be used in Louis notation. These articulation markings will most typically be placed above the noteheads and above the pattern notation. (See fig. 7)
fig. 7
Dynamic Markings
Any dynamic markings used in traditional Western notation can be used in Louis notation. These dynamic markings will most typically be placed below the staff (See fig. 8)
Clef
As Louis notation is not pitch specific the clef indicated at the beginning of each system will be a percussion clef. (see fig. 9)
fig. 9
Time signature
Time signatures will be listed at the beginning of any notation and will be denoted at the beginning of any change in meter.
Key
As Louis notation is not specific to any key, key signatures are not needed.
Repeats
Repeats will be notated as they are in traditional Western notation with two lines and two dots. (See fig. 10)
fig. 10
Engravers Discretion
It is important to note that not all possibilities of use within the Louis notation system can be covered here and thus some decisions must be left to the discretion of the composer/engraver. However, any circumstance not covered herein should be easily abated as the large majority of rules of Western music notation will apply seamlessly to the Louis system just as they would with the notation of any other musical instrument.
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Use Within Software Engraving Programs
While there is currently no preset function for notating the Louis system within popular software notation systems you will find that notation of the Louis system within these systems is quite easy and only takes a mild level of adaptation of existing functions within these programs to produce a concise result.
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Limitations
While the potential of the Louis system is exciting it is important to note that it is by no means a perfect or comprehensive solution to every possibility of notation within the rapidly changing world of the handpan. As mentioned previously, the Louis system does not currently account for tonefields placed on the port side of a handpan. This system also does not account for handpans that may have more or fewer tonefields than indicated in any given notation or for playing two or more separate handpans simultaneously. Additionally, Louis notation does not account for “vertical” playing (where a player rests a handpan vertically in their lap to play both the top and bottom shells of the handpan simultaneously) or port side playing. There are no doubt further scenarios that the Louis system is not currently equipped to handle.
It is important to recognize what Louis notation is primarily intended for, that is the notation of non-pitch-specific patterns that may be useful in the conveying of exercises, grooves, or songs that may be useful for players in adapting to their own handpans. If a composer wishes to have exact control over the notation of a handpan composition the tools within traditional Western music notation will, undoubtedly, be the superior choice. In spite of these limitations Louis notation remains the most comprehensive and simultaneously most simple system of non-pitch-specific notation for the handpan instrument and can, without doubt, provide tremendous utility and benefit to the handpan player.
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Further Adaptation and Usage
As the handpan instrument is still in its infancy there is no doubt that differently designed instruments and new playing techniques will continue to be developed as time goes on. Because of this, it will be necessary for the Louis system to continue to evolve and adapt alongside the evolutions and adaptations of the handpan itself. Fortunately, Louis notation is designed to be flexible and adaptable enough to give the player and composer the freedom to evolve within the framework of the Louis system. It is important to remember that musical notation, like language, is fluid and can, and must, adapt over time to best serve its intended purpose.
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Conclusion
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It is my earnest belief that the Louis system of handpan notation is not only necessary for the development, preservation, and exchange of ideas in the handpan medium but further an important and powerful tool that can bring about inspiration and new approaches for the handpan player. The simplicity of the Louis system makes it easily replicable and the familiarity of its elements will make it approachable for the seasoned musician and the first-time handpan player alike. While it is impossible to force the adoption of any new system upon an art form I believe that the aforementioned appeals of the Louis system will entice many handpan players to its usage. I certainly hope so.
Last Updated: 7/12/2024
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