Tuning/Note Layout
C Tenor
In North America, the most common pan is the C tenor or C lead. Their lowest note is notated as middle C and the notes are arranged in the circle of fifths. See the image below.
The D tenor is more common in Trinidad. It is generally the same note layout as the C lead (with C still being in the center), but the D4 is the lowest note. In the place of the C4 and C#4 in the outer ring there is C5 and C#5. Similarly the C5 and C#5 in the middle ring are replaced with C6 and C#6. This also means that the notes of the innermost ring usually span from D6 to either F6 or F#6 depending on the builder.
There are other variations on the C tenor as well. One major maker in the US has the range from C4 to G6. Some builders also make lower pitched G leads with a range of G3 to C6.
There are other lead pans with note layouts not based on the circle of fifths, but I do not currently have access to any lead pans besides the standard C lead.
Double Tenors
The other type of pan I play is the double tenors. As a double instrument, it is a single instrument with notes spread out across two steel pans. This instrument is not to be confused with double seconds. That is a similar looking double pan instrument with a completely different note layout. Being able to play one of them in no way makes you able to play the other. Double seconds are far more common in North America than double tenors, but there are still many bands and players using them. The ranges are similar, but tone and function within the steel band differ.
The note layout of double tenors is a pretty random compared to the highly organized circle of fifths layout for tenors. The left pan can be thought of as the F side and the right as the G side. The range and note layout can differ by maker, but this is the common layout for professional quality pans (range: F3 – D6). Due to having two pans’ worth of surface space, the range is larger than the tenor pan’s. The low notes are strong and resonant while the high notes are bright and project.
In performance the player will attempt to keep one hand on each pan as much as possible. Generally the rule is that if three or more fast notes need to be played on one pan in a row the player will cross a hand over to the other side. A skilled player will try to keep this to a minimum since pan crossings take time and make it more difficult to keep a balanced tone. Double stops can force a lot of pan crossing for obvious reasons and are something an experienced performer should be able to cope with.
Note: I will add audio/video examples soon. If you are reading this and think I’ve forgotten to do that update, then please message me so I unforget to do it.
Mallets
Standard. There are two main types of mallets for steel pan: light wooden or metal rubber covered sticks. Metal mallets are often covered with rubber at both ends to prevent damage if dropped. These mallets can play a full range of dynamics from pp to ff.
Wooden sticks can be flipped over to use the bare wood directly on the pan. This must be done lightly in order to avoid damaging the pan, but creates such a bright, direct sound that it does not generally have trouble being heard.
Cardboard tubes. The cardboard tubes from wire hangers are possibilities for mallets. They produce a soft, dark sound. These will not damage the pan, but it is hard to get above a mf due to the lightness of the mallets.
Rods. Hot rods are a bundle of thin dowels used to hit the drum as a single stick. In the video below I have made rods from a bundle of seven 1/8″ dowels. I am going to make another prototype from 3/16″ dowels to see how they differ.
I like the rods a lot. They aren’t as loud and bright as chopsticks (at least the slightly heavy ones I often use), but do sound nice and get more fundamental. I think the tone is better than chopsticks, but the effect is not as pronounced if that is what you are going for. These also have a certain amount of the distinctive rod attack sound since the various dowels are also banging into each other as well as the pan.
Chopsticks. Wooden chopsticks are a favorite alternative pan mallet. Since they come in a variety of shapes, sizes, and weights it can be a bit tough to generalize. However, they should produce a light but very bright sound. The general dynamic range for these is about p to f. They have such a direct sound it is difficult to perceive them as less than piano and they are usually so light it is hard to get above forte and doing so would probably damage the pan anyway.
Superball mallet. A very interesting variety of sounds can be achieved with a superball mallet (a mallet made from a bouncy ball). The superball used in the video is too big and heavy for general use. A heavier mallet like that will work a pan out of tune. I haven’t bought smaller ones yet to make lighter mallets to see how they might fare.
For the time being, if you are intent on using the superball mallet I would recommend calling for a secondary “beater” pan that the performer does not mind possibly knocking a bit out of tune. That, of course, is a big ask though.
Brushes. Another implement available is brushes. I use a set of nylon brushes instead of the typical metal brushes used in jazz so that the bristles do not scratch the pan. These are great for creating a full-ish sound with an interesting, noisy attack. One problem is that since these are made for drums, they are much longer (2x-ish) than typical steelpan mallets and are a bit awkward. The real downside to this is a small loss in speed, maneuverability, and accuracy. But they are still great tools.
Below is a video of one set of brushes that I have. I will make another video with a different nylon brush that I have soon.
Playing surfaces
Notes. The notes are the most obvious playing surfaces for the pan, but there is a lot variation in tone that is produced across the range and on a single note. I will add a video showing the differences in tone between the high, mid, and low notes.
Notes have an “optimal” playing area that is usually a ring around the center of the note. The notes speak out the best there. It is, however, also possible to play notes closer to their boundaries which will usually result in darker, muted tones. The lower notes are best for this because they have the most surface area. Notes in the upper octave of the pan tend to either speak or note speak without a lot of controllable variation in between.
Rim. The rim goes around the instrument at the top. It can be struck with the body of the stick/mallet. The sound will depend on the mallet, but usually results in a short click-like sound.
Skirt. The skirt is the part that hangs down from the rim. This can be struck with a variety of mallets to produce a dark, often gong-like resonant tone. You can use the rubber tip of the mallet to reduce contact noise for a darker sound or hit the skirt with the body of the stick to get a sharp attack followed by a dark resonance. Again, I will add a video demonstration.
One caveat is that many players do not like playing on the skirt because it is possible for a portion of it to break away from the rim and to develop a buzz in the pan. This is more common in lower quality instruments, but a real concern for any pan. I am willing to play on the skirt, but would avoid too much at too high a playing level.
Magnets
Detuning. It is possible to detune (and partially mute) individual notes of the pan with magnets. Depending on the weights it is possible to detune a pan by a half step and sometimes up to a whole step, but doing so usually deadens the note quite a bit. I will post a video soon showing off the sounds of a detuned note.
Paper clips. I have used magnets to attach strings of paper clips draped over notes in order to create a noisy sizzle sound on specific notes. This works best on the lowest octave of notes since they are large (the paper clips aren’t covering the entire playing area) and they can be attach with a magnet near the rim.
Other uses. I’m sure they exist. Feel free to let me know if you think of other things. I will continue to populate this list as I think or learn of new tricks.