Composer: Yu-Peng Chen
Rearranged by: Howz, Chong Eugene

The three tracks in the popular game “Genshin Impact” are connected to form the scenes of Sumeru in the game, namely “Flickering Shadows of Trees” representing the early morning, “Hustle and Bustle of Ormos” representing daytime, and “End of the Feast” representing nighttime.

Composer: Sam Maher
Rearranged by: Jian Hao

Sam Maher is a renowned handpan player from Australia and is responsible for inspiring Jian Hao become one. Sam Maher often combines chords and melodies in his handpan performances, achieving a rich and layered musical effect.

Composer: Jian Hao

“Paradise” is the first composition that Jian Hao created using a double-sided handpan, featuring Sam Maher’s tapping style and techniques that involve playing the top and bottom of the handpan simultaneously.

Composer: Jian Hao

If you throw a stone into a still lake, ripples start to form, gradually spreading throughout the body of water. They are a special phenomenon that has an impact on its surrounding environment. It transmits a sense of positivity that can only benefit, those who witness it. With its rapid growth all over the world since originating from Switzerland in the year 2000, the handpan with its unique shape and sound has fast become a popular musical instrument. It is as the expanding and intersecting ripples slowly affecting that which is around or next to it. While the sounds of a drum can be powerful and loud, ‘Ripple’ embodies the deep, gentle and calming influence of the handpan on its player and its audience. Both the calabash and the tambourine were chosen to accompany the handpan in this piece as they set off and highlight the tone of the handpan perfectly. Its melody is styled in soft and delicate yet strong tones, bringing a sense of joy to anyone it comes in contact with, just like the first rays of sunshine in a day.

Composer: Jian Hao

“Kumpul-kumpul” translates to “gathering” in English. Handpan music is typically performed as a solo or duet, but in this piece, there will be the challenge of playing 6 handpans together on stage, attempting to bring the healing tones of handpan into a lively and bustling atmosphere.

Composer: Peter Ilyich Tchaikovsky
Rearranged by: Chong Eugene

“Sugar Plum Fairy” is a piece from the ballet “The Nutcracker” composed by Tchaikovsky, adapted from a world-famous fairy tale. It is a dreamy and fantastical composition with a relatively short ABA form (musical form). The original melody is played on the celesta, producing crisp and rhythmic tones that resemble the movements of a wooden puppet. In the B section, there are prominent accents, creating a sense of urgency and tension. The last phrase of the B section features a rapid sequence of bell-like sounds, as if a fairy is making her entrance.

Composer: Joe Hisaishi
Rearranged by: Chong Eugene

This is a famous soundtrack from the animated film “Howl’s Moving Castle.” In the movie, the age of the protagonist Sophie changes from 18 to 90 years old in an instant, which is a key aspect that director Hayao Miyazaki is particularly concerned about. The film portrays the rapid aging of a person, and as the scenes shift, the appearance undergoes subtle changes, sometimes appearing young and sometimes becoming old.

Composer: Yuki Etoh
Rearranged by: Chong Eugene

The original song was performed by the Japanese trio Ko-ko-ya using the guitar, violin, and the clarinet. After being rearranged by Chong Eugene, we used a cello to play the violin part, trumpet for the clarinet, ruan as a substitute for the guitar, and the handpan to provide accompaniment similar to a piano, giving this piece a completely different color.

Rearranged by: Howz, Chong Eugene

The original song was performed by P.Ramlee and Saloma, and besides incorporating steelpan elements, it also features a lively Bossa Nova and Samba rhythm as a musical arrangement.

Traditional Bulgarian Folk Song
Rearranged by: Howz

Bucimis (pronounced boo-chee-MEESH) is a traditional Bulgarian dance and music of the Pomaks, an ethnic group in Bulgaria. It originates from the Pazardzhik region in western Thrace, and its exact origin is unknown. The music accompanying the dance is a nearly forgotten folk song from modern times. The dance movements are similar to the Gankino (Krino) horo of the same region. Nowadays, it is not as popular in Bulgaria, but it used to be commonly performed at rural dances during the first and second generations. In the dance formation, women would be in the middle, and men would be on both ends, often dancing by grabbing each other’s waistbands.