A historical background of Trinidad and Panorama competitions with an analysis of Ray Holman's 1989 Panorama arrangement of "Life's Too Short".
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A historical background of Trinidad and Panorama competitions with an analysis of Ray Holman's 1989 Panorama arrangement of "Life's Too Short"
Remy, Jeannine Irene, A.Mus.D.
The University of Arisona, 1991
Copyright @1991 by Remy, Jeannine Irene. All rights reserJed.
V·M·I 300 N. Zeeb Rd. Ann Arbor, MI48106
A HISTORICAL BACKGROUND OF TRINIDAD AND
PANORAMA COMPETITIONS WITH AN ANALYSIS OF
RA Y HOLMAN'S 1989 PANORAMA ARRANGEMENT OF
"LIFE'S TOO SHORT"
by
Jeannine Remy
Copyright © Jeannine Remy 1991
A LectlJre Rerital Doc :Jment Submitted to the Facultv of the
SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements For the Degree of
DOCTOR OF MUSICAL ARTS With a Major in Percussion
In the Graduate College
THE UNIVERSITY OF ARIZONA
1 9 9 1 THE UNIVERSITY OF ARIZONA GkADUATE COLLEGE
As members of the Final Examination Committee, we certify that we have read the docur:Jent prepared by Jeannine------Remy entitled A HISTORICAL BACKGROUND OF TRINIDAD AND PANORAMA COMPETITIONS iHTH AN A..I\JALYSIS OF RAY HOLMAN'S 1989
PA.l\lORl-.J.1..i\ A.qRA.l\lGEMENT OF "LIFE'S TOO SHORT"
and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts, in Percussion
4 - 10 - 91 Date ~/;p:/tfl PrOf. Richard Peters '/ .. ':: / --...... /
r. Timotht Kolosick Datk '
Date
Final approval and acceptance of this document is contingent upon the candidate's submission of the fir.al copy of the document to the Graduate College.
I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement.
PrOf. Gary Cook, Major Professor Director D. ------3 ST ATEMENT BY AUTHOR This lecture document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library, Brief quotations from this lecture document are allowable without special permission. provided that accurate acknowledgment of source is made, Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. '\.{. /,1 ',', ",' I .1 ',\ r. i S IG N E D-/--'7"'l''F::''-'''';-''::'~'''':'~''''L--~~'-=-'-''->''''-'\;,r----,-1\ ..::.../ ... --,-,il'->~"'L...../~t('-/_·· ___ J 4 ACKNOWLEDGMENTS Thanks are due to many individuals both in the United States and Trinidad who helped make this lecture document possible. A special thanks to Clifford Alexis (Northern Illinois U:aiversity Steel Band Director), Michael Anthony (Trinidadian Author), Dawn Batson (Music Teacher at Trin:~y CoJ1eg~\, S.C. Blair (Pan Handlers supporter), Gerard Darlington (member of the Invaders), KeLh Diaz (External Relations Officer for Pan Trinbago). Dr. William Dietz (University of Arizona Professor of Bassoon), Gary Cook (University of Arizona Professor of Percussion), Kim Gransuall (Librarian at the Un~versity of the West Indies), Errol G. Hill (Dartmouth College Emeritus Willard Professor of Drama and Oratory), Judy Hilgers, Ray Holman (arranger for the Trintoc Invaders 1989-1990), Barbara Jenson (Invaders supporter). Hamil jones (member of Invaders). Dr. Timothy Kolosick (University of Arizona Professor of Music Theory) Librarians (University of West Indies), Vernon "Birdie" Mannette (lnv3der"s Leader and Tuner), Dr. Edward Murphy (University of Arizona Professor of Theory), G. Allan O'Connor (Northern Illinois University Associate Dean of Fine Arts and Steel Band Director), members of the Pan Handlers Steel Bana, David Penco (member of Invaders), Mrs. Kitty Peters (Invaders supporter), Richard Peters (University of Arizona Professor of Trumpet), Richard Pinney, Ann Remy, Gene Remy, Joe Remy, Pat Remy, Jeff Rodenkirch (The Pan Handlers Steel Band), The University of Wisconsin-Oshkosh Faculty Development Committee, Jeffrey Ross Thomas (Ethnomusicologist), and Dave "Wally" Walton (The Pan Handlers Steel Band). 5 TABLE OF CONTENTS LIST OF ILLUSTRATIONS ...... 7 LIST OF TABLES ...... 8 LIST OF APPENDICES ...... 9 ABSTRACT ...... 10 Chapter TRINIDAD, ITS PEOPLE, AND MUSICAL DEVELOPMENTS THROUGH CARNIVAL ...... 11 Location...... 11 Settlers and Natives ...... 11 African Slaves and French Plantation Owners...... 12 Roots of Carnival Celebrations ...... 14 Musical Developments and the Lower Classes...... 16 From Bamboo to Metal...... 16 From Non-Pitched Metal to Pitched Steel Drums ...... 19 Acceptance of Pan ...... 21 Beginnings of Steel Band Competitions ...... 22 Carnival Events Today...... 23 Chapter 2 FIELD RESEARCH WITH THE TRINTOC INVADERS IN PREPARATION FOR THE 1989 and 1990 PANORAMA COMPETITIONS ...... 25 Choosing a Steel Band...... 25 The Sponsors ...... 25 The Arranger ...... 26 Teaching the Arrangement ...... 27 Conventional Panorama Competitions ...... 28 The Queen's Park Savannah ...... 30 Pushing Pan ...... 31 The Competition ...... 31 New Developments and Concerns in 1990 ...... , ...... 34 ~ --- ._ .. - ....__ ._----- 6 CONTENTS continued Chapter 3 A DETAll..ED ANALYSIS OF RAY HOLMAN'S PANORAMA ARRANGEMENT OF "LIFE'S TOO SHORT" FOR THE TRINTOC INVADERS USING THEME AND V ARIA TIONS AS THE FORMAL STRUCTURE ...... 38 Composer and Arrllilger Ray Holman ...... 38 Panorama Arrangements of Popular Soca Music ...... 39 Orchestrating a Steel Band Arrangement ...... 41 Objectives of Panorama Arrangments ...... 42 Theme and Variation ...... 43 Melodic Analysis ...... 44 Harmonic Analysis ...... 44 Rhythmic Analysis ...... 46 Research Objectives and Conclusions ...... 48 Future Objectives ...... 49 GLOSSARY ...... 147 SELECTED BIBLIOGRAPHY ...... 156 7 ILLUSTRATIONS figure Page(s) Map of Trinidad and Tobago ...... 51 2 Early Carnival...... 52 3 Stick Fighting ...... 53 4 Tanlboo Bamboo ...... , ...... 54-55 5 Metal-beating Bands ...... 56 6 Early Steel Bands ...... 57 7 Jamette Yard ...... '" ...... 58 8 Alexander's Rag Time Band ...... 59 9 Pan-Around-the-Neck ...... 60 10 T.A.S.P.O ...... 61 11 Ray Holman ...... 62 12 Invader's Pan yard ...... 63-64 13 Map with the Savannah ...... 65 14 Pushing Pan ...... 66 15 SavannahGrandStands ...... 67-68 16 Invaders on Savannah Stage ...... 69 8 TABLES Page(s) Panorama Winners ...... 70 2 Sponsors ...... 71 3 Panorama Rules ...... 72-78 4 Prelim Results ...... 79-81 5 Zonal Results ...... 82-83 6 Semi-Finals ...... 84-85 7 Final Competition ...... 86 9 APPENDICES Appendix Pa~e(s) A Preface to Score ...... 87 -88 B Score "Life's Too Short" ...... 89-128 C Formal Structure ...... ' ...... 129 D Melodic Analysis ...... 130-132 E Melodic Predominance ...... 133 F Complete Hannonic Analysis ...... 134-137 G Harmonic Comparisons ...... 138-141 H African Drumming and Tamboo Bamboo ...... 142 I Engine Room ...... 143 J Rhythmic Analysis ...... 144-146 10 ABSTRACT Each year just before Lent. Trinidad and Tobago has a celebration season called Carnival. In Trinidad. Carnival is celebrated by masquerades. dances. parties (jetes). and a serles of steel band competitions called Panorama. This document is directed toward those who have little knowledge about Trinidad. its people. the Carnival activities. and the Panorama competition. This research work should help summarize the evolution of steel drums while providing a transcription of a Panorama score for further scholarly study. The first part of this lecture document includes a brief history and evolution of Trinidad. its people. and musical developments through Carnival. The second portion reports and discusses field research with the Trintoc Invaders in preparation for the 1989. 1990. and 1991 Panorama competitions. The third part is a detailed analysis of Ray Holman's Panorama arrangement of "Life's Too Short" for the Trintoc Invaders using theme and variation as the formal structure. Information for this lecture recital document was gathered from written sources in Trinidadian libraries and field work in the Trintoc Invader's pan yard. The source materials: newspaper articles. magazine articles. and books were gathered from the University of the West Indies in St. Augustine and from the West Indian Collection of the Central Library in Belmont. In addition to these materials. interviews were conducted with some older pan men who participated in the very first steel bands. Documents. such as lists of steel bands in Trinidad and Tobago. Panorama results. and judging procedures were obtained from the Pan Trinbago headquarters in Port-of-Spain. Musical information was gathered by rehearsing and playing tenor pan with the Invaders Steel Band Orchestra located in Wood brook and working closely with their arranger and composer. Ray Holman. Permission was granted to notate his arrangement for analysis and all rights are reserved. 11 CHAPTER! TRINIDAD, ITS PEOPLE, AND MUSICAL DEVELOPMENTS THROUGH CARNIVAL Location The nation of Trinidad and Tobago is a West Indian twin-island country in the Caribbean. Trinidad is located seven miles northeast of Venezuela while the smaller island of Tobago lies about twenty miles northeast of Trinidad. The country of Trinidad and Tobago is part of the Lesser Antilles island chain that separates the Caribbean Sea from the Atlantic Ocean (figure 1). Together the two islamis cover 1,978 square miles; the nation is about 1 1/2 times the size of Rhode Island. The capital city of Trinidad, Port-of-Spain, is located in the northwest region of the island. The terrain consists of plains and low mountains and the climate is tropical. Settlers and Natives Trinidad w~ named by the Spanish settlers whose first sight of the island was three mountains which reminded them of the Holy Trinity. "Trinidad was discovered by Columbus [on his third voyage] for the Crown of Spain, a Catholic country, in 1498:') Slave trade in the Wes~ Indies began around 1510 but did not reach Trinidad until 1530 when Spain declared Antonio Sedeno as Govemor.2 The first permanent Spanish settlement on Trinidad was not built until 1592 at San Jose. Today this settlement is called S1. Joseph.3 For 285 years, from 1498 to 1783, Trinidad was a neglected outpost of the ) Errol Hill. The Trinidad Carnival (Austin: University of Texas Press. 1972). p. 6. 2Fredrick Kaufman and John P. Gucken, The African Roots of Jazz (Sherman Oaks. CA: Alfred Publishing Co., Inc., 1979), p. 3. 3John Bartholomew, The Steel Band (London: Oxford University Press. 1980). p.6. 12 Spanish empire. Trinidad was raided by the British in 1595 and the Dutch in 1637; the island was sacked again by the Dutch in 1640 and the French in 1677 and 1690. As a result. Trinidad became a melting pot for various types of people and cultures. The mixture of people who came to Trinidad included Spaniards. Dutch. French. African slaves. British. and later after the 1838 emacipation. the Chinese and East Indians who came as indentured laborers. The natives of Trinidnd and other West Indian islands. the Caribs and the Arawaks (Amerindians). eventually became extinct (or most likely a few survived and intermarried) as colonists began their settlements. "Both ~he Carib and Arawak died out almost completely within a few years of the arrival of Europeans. "4 In 1797 Spain surrendered to the British navy. Trinidad and Tobago were merged in 1888 and were under British rule until 1962 when they gained their independence from Great Britain and became an independent twin-island nation under the British Commonwealth.5 Today tht! majority of the population of Trinidad (now approximately l,2R1,()()() people) is comprised of people from African and East Indian descent. The mixture of these many cultures has had a significant influence on the social and musical practices of Carnival and specifically the current Parlorama activities. Even today. traces of these various cultural influences can be found a<; element<; of the formal structure in Panorama arrangements. Arrican Slaves and French Plantation Owners The two groups who contributed the most to the evolution of Carnival and Panorama in Trinidad were the African slaves and the French plantation owners. The African slaves were brought to the Caribbean islands by Spanish colonists in the early 4Banholomcw p, 4. 5Bartholomcw p. 6. 13 1500s. The first Spanish record of population of Trinidad in 1733 stated that there were 162 adult males: 28 white. 134 [free] colored. This figure did not include the Amerindians or African slaves which were purchased from slave si,~ps to work on the cocoa estates.6 A 1776 Cedula de Poblacion was initiated by Charles II. the King of Spain. It permitted Spaniards and foreigners, if they were of Catholic faith, to purchase land grants on easy terms.: As a result of this first Cedula • a Frenchman named Roume de St. Laurent arrived in Trinidad in 1777 and was impressed by Trinidad's agricultural potentials. He traveled to Spain to convince Carlos IV to revise his terms and issue land grants free of charge. The king kept Laurent waiting in France for six years, until 1783, before allowing him to proceed to the Spanish COUll. Laurent proposed that a larger population on Trinidad could prevent the British from conquering the now defenseless and sparely populated island.s Many more African slaves arrived in Trinidad in 1783 as a result of Spain's newly revised Cedula which allowed French immigrants to start plantations. "This gave French planters from Haiti (and also Grenada. Martinique, Dominica, and Guadeloupe] and Frenchmen who wished to escape from France during the French Revolution (1789-1799) the opportunity to senle (in Trinidad] and establish an influence upon cultllTal heritage:'9 Spain's census of 1783 accounted for 2.681 people: 126 white. 245 colored, 310 slave. and 2.000 Indian (probably Amerindians). By 1797 there were over 10.000 slaves on the island: the Spanish claimed 300 slaves and the French claimed 9.700.10 A1lhough Spain governed Trinidad between 1498 and 1797, the French dominated the Caribbean islands during the 17th and 18th centuries. As a result, there was a 611ill p. 6. 711ill p. 6. IIMichael Anthony. lIeroes oj the People oJ Trinidad & Tobago (SI. James: Circle Press. 1986). pp.I-5. 9Louis C. Smith. The First Text Book on Steel Band (Port-or-Spain: Spcedo Printery. 1979). p. i. IOIliIl p. 7. 14 substantial increase of French inhabitants of Trinidad during the late 18th century. These French-elite settlers brought with them their pre-Lenten masquerading (Carnival) cu~toms. "The dominant social and political force in Trinidad from 1783 [on] was the French-planter elite. This upper class had brought with them, via their previous island residences, many of the customs, habits. and attitudes of French culture."11 .... .it is unlikely that Carnival was a popular occurrence in the island before the year 1783, which marked the arrival of French-speaking planter immigrants and their African slaves."12 In 1789 Spain allowed the French-elite settlers to import more African slaves. They were used by the French people to help work the cocoa, coffee, and sugar plantations. The African slaves brought with them their musical heritage and their knowledge of African drumming. Most of them had been separated from their families and eventually lost their native languages; their music was their only link back to Africa. Roots of Carnival Ct:lebrations Carnival literally means "farewell to flesh" as a way of releasing inhibitions before Lent. Under Spanish rule (1498-1797) and until the emancipation of the slaves in 1838 under British rule (1797 -1962), only the upper classes were allowed to participate in the Carnival masquerading bands. "The British conquest of theTrinidad in 1797 did not arrest the flow of immigrants but increased and further diversified national groupings" 13 The French whites still owned most of the estates. It was on these estates that masked balls were held for the elite only. Before emancipation, the slaves, in imitation of their French ma'lters, held their own little backyard Carnivals. Rather than imitate the 'dainty' music II Jeffrey Ross Thomas. A IIistory of Pan and the Evolution of the Steel Band in Trinidad and Tobago (M.A. Thesis. Wesleyan University in Middleton. Connecticut 1985). p. 18. !211ill p. 6. 13lIilI p. 7. 15 they heard at the French parties, they played their own African drums and sang African chants.14 When emancipation took place in 1838, the ex-slaves joined in the Carnival street parad~~ (figure 2). it is interesting to note that before 1838 the elite-upper class Carnival celebrations were referred to as masques (Creole patois for masquerade) in the newspapers. After 1839. the newspapers referred to Carnival as a period of barbarism and social disorder. The elite classes were most likely vexed about the addition of ex-slaves joining "their" street Carnival celebrations. In 1843, in an attempt to keep the Sabbath holy, the authorities reduced the Carnival activities to the Monday and Tuesday preceding Ash Wednesday. 15 Previously Carnival had been held on the Sunday, Monday, and Tuesday beforp. Ash Wednesday. In retaliation to this decision. the ex-slaves began to usher in Carnival with midnight torchlight processions called canboulay (from the French. c:mncs bruLCes. or "burnt cane") on Sunday night, reenacting the days when slaves would be driven by whips to put out fires as a process fOI harvesting sugar cane on the estates. The canboulay masqueraders were accompanied by canboulay drums which were African skin drums. This event t(lok place until Captain Arthur Baker banned canboulay in 1881 (known as the "Cannes Brulees riot").16 This restriction forced the ex-slaves to keep their activities a secret from the police. ------14Michacl Anthony, Paradl' nJ Ihl' Carnivals nJ Trinidad /839-/989 (St. James: Circle Press. ! 989). pp. 2- 3. 15 Andrew Carr & Andrew Pearse, Trinidad Carnival, reprint from 1956 Caribbean Qllarterly. (Trinidad: Paria Publishing Co. Ltd. 19M8), p. 22. 16Anthony p. 9. 16 Musical Developments and the Lower Classes As early as the 1700s, European colonists feared that the African drumming would incite the slaves to iebellion. Even after emancipation, the elite English-ruling classes set specific hours in which the lower classes were allowed to socialize and play their music for entertainment. One such type of entertainment was the Kalinda, which was probably of African origin. The Kalinda (sometimes spelled Calinda) is a dance with chanting (Baflaille bois as it was called by the French) used in a stick fight (figure 3). 17 These stick fights would be accompanied by African skin drums and/or tamboo bamboo bands with a vocalist called a clzantwel. These activities would take place in barrack yards which were simply urban slum dwellings in t~e Port-of-Spain during the 1800s. The stuggles of the lower class. especially those of African descent. were of utmost influence in the development of Trinidad's new musical styles and instruments. The need for drumming was so much a part of their African heritage and Shan go re ligion that the banning of their instruments (sometimes referred to as Shango drums) throughout the years forced the lower classes to invent new bands of instrumenl'i. These new bands included tamboo bamboo bands (figure 4), early metal-beating bands (figure 5). and t:vt:ntually the early steel drum bands (figure 6). The steel band Panorama arrangf"mf"n(s of today contain elements of African drumming i1S rhythmic influences and foundations. By the late 186Os, the people of the lower class were referred to as the lametle (sometimes spelled lamer) class (figure 7). The word comes from the French Le Diametre and means people behaving beneath the line of human responsibility. The lametle class was composed of a mixture of races who were underprivileged. generally unemployed. and sometimes criminal. Among the mixture of races in the lametle class were the ex- slaves and indentured workers from East India and China who were encouraged to come to 1711il1 p. 27. ------17 Trinidad after the 1838 emancipation of the slaves in order to work on the sugar plantations. Colonial writers often called the early Carnivals "Jamette Carnival." Today most of the people considered to be in the Jamelle class Ii ve in the slum area called John John on LaventilJe Hill which is east of the Dry River Bed (S1. Ann's River) and the Port-of-Spain. The Nigin of the word badjohn most likely comes from John John and defines a person who is notoriously rough and very proud of his image. From this area and through these people. the first predecessors of steel band evolved: the !amboo bamboo bands in the late 1800s and early 1900s and the metal-beating bands in the late 1930s. Two of the oldest tam boo bamboo bands from this area are the Dead End Kids or Hill 60 (today known as the WITCO Desperados) and the John John Tamboo Bamboo Band or Marabuntas (today known as Carib Tokyo). From Bamboo to Metal Tamboo bamboo stamping tubes (figure 4) took the place of the African drums which were banned by the authorities in 1881 a<; a result of the canboulay riot. "Orums or no drums. it was not long before the people took rhythm onto the streets once more. "18 These bamboo sticks were cut to v'!rying lengths: the smaller pieces were struck together while the larger pieces were stomped on the ground. The combination of striking and stomping these various lengths of bamboo created a melodic and rhythmic accompaniment for the chanter.19 The tamboo bamboo bands were also often accompanied by bottles and spoons (figure 4a). In 1937 the police forbid the use of bamboo sticks because rival tamboo bamboo bands were getting into fatal stick fight.,. 18Bartholomew p. 15. 19James Blades. Percussion Inslrumenl~ and Their llislory (London: Faber and Faber L;mited. 1984). p. 455. 18 One could argue the roots of metal-beating could be traced to the metallic spoon used to hit the bottle while accompanying the bamboo stomping tubes. Some sources even picture a tam boo bamboo band with a brake drummer (see glossary). a few bottle and spoon players. and many ba!11boo stalk players. The first beating of "metal" material occurred in the late 1930s as a gradual replacement for the banned tamboo bamboo. These bands consisted of players using all metallic instruments. Metal-heating bands evolved out of a need to replace the tamboo bamboo bands and the need for louder instruments to accompany Carnival. They were sometimes referred to as "iron bands" or "pan bands." One such band that experienced this transition from bamboo to metal was the Alexander Ragtime Band of Wood brook. This band was located in a barrack yard on the comer of Tragarete Road and Woodford Street and used to be called the New Town Tamboo Bamboo Band before it changed it's name in 1935 to the Alexander Ragtime Band. Today a Royal Bank stands on this exact location. The early metal bands. such as ihe Alexander Ragtime Band. would play object<; such as biscuit drums. dustbins or tin pans. hub-caps, garbage cans. pots and pans- anything metallic (figure 8). Even today the tradition of beating on a bottle with a piece of metal (bottle and spoon) can be seen and heard at any {ele (party). The "iron" of today's steel bands is the single instrument which evolved from the "bottle and spoon" in the tamboo bamboo bands and the metal-beating bands. It is said that the Alexander Ragtime Band was the first band in the Carnival of 1935 (some sources state 1937) to discard their bamboo and beat metal. Most of the instruments used in the metal bands and early st~el bands were made from stolen materials. The metal was not intentionally pitched. The attraction to metal was for a louder sound. 19 From Non-Pitched Metal to Pitched Steel Drums Many stories account for the origins of steel drums. My research has revealed several conflicting stories, all of which credit different people. Sources generally agree that Winston "Spree" Simon, Rudolph "Fish Eye" Ollievierra, De Labastide and Neville Jules were acquainted, mingled, and socialized in several pan yards and shared their ideas. History suggests that none of them, or indeed any individl:"i, could or should be given sole credit for early pan innovations.2o Sources state that the early steel drums were made from caustic soda drums. dustbins, zinc buckets. garbage cans, metal soapboxes, pitCh-oil pans. and old automobile hubcaps. These in'itruments were crude: they were stilI in their experimer!t~! stages and had no intentional pitches. These early metal-beating bands were more interested in producing rhythmic accompaniment and replacing the roles the tamboo bamboo bands had once played. The performer would either carry the smaller metal drums with one hand and beat the metal with the other. or hang the entire drum around his neck with some type of strap so that both hands would be free to simultaneously strike the top and bottom of the drum (figure 5). Around the time of World War II (1939-1945). the shape of the bottom of the smaller hand-held drums was convex and contained a few unrefined pitches. The player conti.... lUed to hold the drum in one arm and with his free hand he would beat the metal instrument with a stick. As the player hit in one area for a long time, he noticed that the pitch or timbre would change. In 1939 Winston "Spree" Simon claims that while he was pounding out his dented pan with a stone. he was able to get varying sounds or pitches. The evolution of the steel drum as we hear it today is a result of the pan builder and tuner learning how to control and isolate these pitches. 20Jcffrcy Ross Thomas. A /listory 0/ Pan and the Evolution 0/ the Steel Band in Trinidad and Tobago. 2nd cd. (Chicago: Jeffrey Thomas, 1990). p. 128. 20 Because of World War II, the Carnival activities from 1942 to 1945 were cancelled. It was during this time that pan innovator Winston "Spree" Simon began improving his small melody pans and also began experimenting with oil drums. His later pans utilized smaller 35 gallon oil barrels, as compared to today's 55 gallon drum. and the sha~ of the belly of the drum was still convex. Simon is one of the men credited for creating and publically performing on the first intentionally pitched instrument: however. his pan only contained a few notes. From 1941 to 1945. the United States began construction and operation of the US Navy and Air bases in Chaguaramas. Trinidad. just west of the Port-of-Spain. As a result of this. the American bases began discarding empty 55 gallon oil barrels. In a 1990 lecture given by Ellie Mannette at The University of Arizona. Mr. Mannette stated that in 1946 he went to the US Navy base to fetch a discarded 55 gallon oil barrel which he used to make a steel drum: he then entered this steel drum into a competition at the Roxy Theatre in Woodbrook. This was a revolutionary moment for pan history. When Mannette took his drum out of his sack. the judges were a~tonished that he had used a 55 gallon drum and had sunk it in a concave manner. Further improvements in the pan design rue credited to Ellie Mannette for separating or grooving note areas and incorporating rubber mallets in 1949. The first pitched steel bands in the late 1940s and 1950s were mobile and marched in the streets (figure 9). During Carnival these players. called roadbeaters or sailor bands. would parade through the streets with their pans hung from their necks. Today the tradition of "pan around the neck" still exists as part of the steel band competition during Panorama. These special bands compete in a category called Ole Time Steel Band. During the late 1940s and 1950s. pan innovators invented more steel drum instruments to complete the pan family. They expanded the note ranges. experimented with the stylings or note patterns. and improved upon the tuning. There were many people 21 responsible for these improvements and some are still living today. It is not practical to list at of their names in this document. but I will mention some of the significant contributors. In 1947 Neville Jules used the whole 55 gallon drum as a bass pan. Anthony Williams is credited for inventing the circle of 5ths pattern "spider web pan" in 1953; it is the standard pan we play today. He. like Ellie Mannette. also argues that he was the first to use a 55 gallon drum. By the late 195 Os fearly 1960s, Bertie Marshall discovered octave tuning (see glossary), and in 1965 he was the first to use canopies to cover the band stands and thus protect the instruments. Today there are many great pan tuners on the island nation of Trinidad and Tobago. These pan tuners are continuing to make improvements by adding instruments and improving the range of the steel band (e.g .• four-pan) and improving timbre (e.g .. boring the pans). With well over sixty conventional steel bands, there is a great demand for pan tuners and new innovators. Today there is a pan innovation competition where pan builders compete for the "The Rudolph Charles Pan Innovation Award." This award is given every year in memory of the late Rudolph Charles who was the pan innovator and excellent tuner to whom David Rudder dedicated the 1986 Calypso song the "The Hammer." In i 990. in appreciation and admiration for all pan tuners. Baron wrote a calypso entitled "Soca Pan Tuner." The Acceptance of Pan In 1951 the Trinidad All Steel Percussion Orchestra (T ASPO). undl!r the direction of Sergeant Joseph Griffith. toured London (figure 10). The tour was so successful that steel drums started to gain some respect in Trinidad and in England. "The success of T ASPO enhanced the steel band movement at home. The Musicians Union in Great Britain had accepted T ASPO so the next year steel bands were invited to participate in the 22 prestigious biennial music festival which took place in Trinidad,"21 The original members of TASPO included: Andrew de la Bastide, Sterling Betancourt, Belgrave Bonaparte, Philmore "Boots" Davidson, Orman "Patsy" Haynes, Ellie Mannette, Sonny Roach, Winston "Spree" Simon, Dudley Smith, Theodore Stephans, Anthony Williams, and Neville Jule~,. Beginnings of Steel Band Competitions "The Steel band Music Festival was started in the early 1950s in an effort to channel the fierce and often violent rivalries of the different steel bands into the more sophisticated arena of musical competition,''22 (Remember the founding members of these steel bands were from the lower Jamette class and were considered badjohns; the early steel bands were really gangs.) 'This Steelband Music Festival competition was held in the Roxy Theatre and was won by the Boy's Town Steel band; they played the Latin American i~'leringue entitled 'Anna',"23 These early festivals were the precursors oftoday's Pan is Beautiful Fe3tival and Panorama. The pans were still in their early stages of development; octave harmonic tur.ing had not yet been invented. By 1963, the Trinidad and Tobago Steel Drum /\ssociation (now Pan Trinbago: I 972-prescnt) decided to have a s!~ecial steel drum competition which they named Panorama. The competition was at night, outdoors, and the drums were played in a stationary position. These rules and regulations were triggered by the increasing sizes of the bands, the improvements in craftsmanship, the increasing numbers of the drums expected to be played by one person, and the further understanding of how direct sunlight affected the tuning of the drums. 21m!! p. 52. 22Selwyn Tarradath, "History of Pan Festivai," Pan is BeuuiifullV [Program Souvenir), 1984, n.p. 23Tarradalh n.p. 23 Carnival Events Today In 1982 Pan Trinbago divided the adult steel drum competitions into two sections: Pan is Beautiful (every even-numbered year) and Panorama (every year). During the fall season the competition is entit!ed Pan is Beautiful and the main c...uactions are the transcriptions of classical pieces. "Pan is Beautiful V was won in the fall of 1988 by the WITCO Desperados playing Tchaikovsky's March Slave. "24 During the Carnival season, which takes place from New Years to Ash Wednesday, steel bands play their arrangements of popular soca (soul calypso) music. The celebrations during Carnival season are completed on Ash Wednesday which is the first day of Lent, seven weeks lx;fore Easter. Panorama, the popular music competition, is held the Saturday before Lent. Panorama competitions were won in 1989 by the Amoco Renegades playing Baron's "Somebody" and in 1990 by Kitchener's "Iron Man" (table 1). The Carnival season or spirit really begins after New Years; it is at this time that steel bands start to get ready for the Panorama competitions. Carnival celebration officially begins on Sunday at midnight (early Monday morning) which they call J' Ouvert morning (the "opening morning"), and ends at midnight on Tuesday night after Mardi Gras or "fat Tuesday" right at the break of Ash Wednesday and the beginning of Lent. It is during these two full days that people participate in costume Mas' (masquerade) Band parades and all night fetes (parties). All of the competitions--the Calypsonian's Kings and Queens competitions, the Mas' Band's final Kings and Queens competitions called Dimanche Gras (the Sunday before Ash Wednesday), the Kiddy Carnivals, and all four conventional and Ole Time Steelband competitions--are compieted before the official Carnival days start. Some of the steel bands still come out and parade the streets for Carnival evpn though their final 24Stephcn Brookes, "Steel Band Is No Flash in the Pan," Insight, 5 December 1988, p.52. ------. 24 Panorama competitions were held the night before. Some of the larger businesses, such as Berger's Paints of Woodbrook, Port-of-Spain, sponsor a competition called Berger's Las' Lap. Prize money is awarded to the best Carnival steel band in an effort to get steel bands back out into the streets for Carnival. There has been much concern in the past decade about the diminishing role of steel bands iP the Carnival parades. Steel bands used to provide most of the music for Carnival and feres. Now steel bands can not compete with the high volume levels of sound produced by large semi trucks stacked with layers of amplifiers which project recorded soca music throughout the streets during Carnival parades. "The noise level emanating from the sophisticated electronic instruments currently in use, prevents the steel band from competing equally with the OJ.s and Brass Bands.''25 It used to be that the steel bands would provide the music for people to "jump up" (or dance) to during Carnival time. It now appears that this Panorama syndrome (see glossary) has taken the steel bands off the streets and placed them in the Savannah. 25Pan Gone From Party Scene," Sunday Guardian. 11 February 1990: 10. 25 CHAPTER 2 FIELD RESEARCH WITH THE TRINTOC INVADERS IN PREPARATION FOR THE 1989 AND 1990 PANORAMA COMPETITIONS Choosing a Steel Band At this time I would like to present my personal experience with the Woodbrook Trintoc Invaders as they prepared for the 1989 Panorama. I arrived in Trinidad on January I. 1989. Residing in Woodbrook. a suburb of the Port-of-Spain. I had the choice of tl:z-..:..: Woodbrook bands: Phase II Pan Groove. Trinidad TESORO Starlift. and the TRINTOC Invaders. I chose the Trintoc Invaders who compete in the north zone. The Trintoc Invaders have a history of producing outstanding pan tuners. players. and an·angers. Some of the outstanding alumni of the Invaders include: Ellie Mannene. Vernon "Birdie" Mannette. Clifford Alexis. Ray Holman. Harold Headley. and Lennard "Boogsie" Sharpe. Phase II aPd Starlift are both offshoots of the Invaders and often the Invaders are referred to as the "Grandmother Band" in Wood brook. In 1990 the TRINTOC Invaders celebrated their 50th anniversary; this achievement makes them one of the oldest and most active steel bands in the twin-island nation of Trinidad and Tobago. The Sponsors Most of the bands in Trinidad have sponsors who support the activities of their particular band. Tht:: ,'iponsors' job might include helping with the cost of the arranger. locating or purchasing more instruments for the band if necessary. and purchasing jerseys for performances. For example. in 1989 the Invaders had as sponsors TRINTOC (Trinidad and Tobago Oil Company). Carib (Carib Beer). BWIA (British West Indies Airlines). and Rossi (a California sports company). The main sponsor's name usually 26 precedes the name of the steel band (table 2). Until 1974 the Invaders were sponsored by Shell Oil Company and called themselves the Shell Invaders. The band changed its name in 1974 from the Shell Invaders to the Trintoc Invaders when Trinidad Oil Company bought out Shell Oil Company. Each year each steel band must seek out supporters and sponsors in order to continue their existence. These benefactors want their names associated with a winning steel band. It is my observation that those bands who have the most affluellt supporters always seem to score the highest at the Panorama. It seems to be a vicious circle. Those bands that place in Panorama receive a considerable amount of prize money (table 3 #10) and thus can afford to hire the best arrangers who are usually able to produce a winning Panorama composition. The Arranger The arranger is the person responsible for taking a popular soca tune. either his own or one written by somebody else. and arranging a ten minute theme and variation on that tune for a hundred piece steel orchestra. The tune (or calypso) which is selected must be sung or pubiisheti for the first time after Ash Wednesday following the previous Carnival. The calypso tune can be composed by anyone who is a native of the Caribbean region (table 3 #9h). The main goal of each band in Trinidad and Tobago is to win Panorama (panorama syndrome). In preparing for Panorama. each band chooses an arranger they can afford and the band announces their arranger and tun\! selection to the general public. This announcement attract., the "beaters" (players) to the pan yard. Often times potential players visit the pan yards during rehearsals to decide if they would like to beat with that band. Most of the members in th~ bands are loyal to their particular band and return each year. Some performers follow their favorite arranger and choose a band accordingly. It is 27 possible to play with two bands; however, it becomes quite taxing on the performer as the band progresses into the later stages of the Panorama competitions. The arranger for the Trintoc Invaders for 1989 and 1990 was Ray Holman who chose to do arrangements on his own compositions (figure II). Teaching the Arrangement The rehearsals begin at dusk in the outdoor pan yards (figure 12) and the steel bands practice as late as needed. The steel bands usually begin rehearsing in early January. These rehearsals begin with the arranger first teaching the verse and the chorus (or refrain) to the section leaders. The section leaders include rhythm, bass, tenor bass, cello, double guitar, quadrophonic and four-pan, double seconds, double tenor, and tenor. Once the section leader has learned the part, he teaches it by rote to the players in the section. The whole arrangcl~lent is learned fragment by fragment (four to eight measures at a time). Each section works together and checks each other to make sure each member has properly learned each melodic fragment. Because Carnival was early in 1989, the arranger, Ray Holman, started to teach the Invader's section leaders the verse and the chorus right after Christmas. The arranger must teach the band by rote a ten minute theme and variation on an original or popular soca tune. As the band progresses into the later stages of the competitions, they rehearse well into the early hours of the morning. The Invader's rehearsals started roughly at 7:30 p.m. and usually lasted about eight hours. Both years that I participated in learning the Panorama composition, the variations were not taught in sequential order; the order of the melodic sections wao; joined together just before the first preliminary competition. It is the quality of the arrangement and the precision of the performance which wins Panorama. At each stage of the Panorama competition, the band strives for improvement. The arrangement also changes as it is influenced by the comments made by the judges on 28 the score sheets (table 3 #7 & 12). In most cases, the arranger elaborates on interludes and transitions within the ten minute time limit. Conventional Panorama Competitions The structure of the conventional Panorama is fourfold: preliminaries, zona! finals. semi-finals, and finals. The preliminary competition (table 4) is the first and the longest; it is divided into three days in three different locations according to which zone the band lives. Steel bands from south and central (SIC) Trinidad have their preliminaries and zonal finals in Skinner Park, San Fernando. Those bands from the north and east (N/E) have their preliminaries and zonal finals in the Queen's Park Savannah, Port-of-Spain. Preliminaries and zonal finals for Tobago (Tob) are held at Shaw Park, in Scarborough. Tobago (figure 1). During the 1989 Panorama season, the total number of conventional steel bands (50-100 members) participating in prelims was approximately fifty-five. In 1990 there were fifty-seven conventional steel bands (table 4). All bands receive compensation for their preliminary appearances (table 3 #lOii). The twenty highest-scoring bands in prelims automatically go on to compete in the second competition (zonal finals) and the third competition (semi-finals). Obviously the numbers change if there are ties. In the event of a tie in the last quillifying position, the bands that tied all qualify for the next round of competition (table 4). The second competition is zonal finals (table 5). As of 1990, all bands are allowed to compete in the zonals. Each zone has eight winners. Since there are three zones (N/E, SIC, and Tob), approximately 24 bands can place. The bands compete in the same locations as prelims, but again the points earned from the prelims have already decided which twenty bands compete in the semi-finals. The purpose of this competition is to give the bands another chance to perform against their own zone and to earn substantial cash 29 awards (table 3 #lOii). For those twenty bands going on to the semi-finals. the judges' comments and suggestions are valuable. The third competition is the semi-finals (table 6) in which twenty bands compete for eleven open spots for the fmals; the twelfth spot is saved for the defending champion. The defending champs are not required to participate in the semi-finals. In 1989 the semi finals were held in the Savannah on one evening; the number of bands competing were sixteen. In 1990 Pan Trinbago decided to split the semi-finals into two evenings and to change the number from sixteen to twenty competing bands. Like all the rest of the competitions, the steel band captains had to go down to Pan Trinbago's headquarters and draw numbers for placement. The first ten numbers had to compete the first evening. I am sure there will be some heated discussions about repeating this procedure for the 1991 semi-finals. Most of the bands who drew the first night felt it was unfair for four reasons: (1) they lost two nights of rehearsal--one for playing on the first night of semi-tinals. and the other on the second night of semi-finals because they had to wait to see if they had made fmals, (2) their scores where publically relea'ied after the first night of competition; therefore, the bands playing the second night knew what scores they had to beat, (3) the bands competing on the second night had an extra night of rehearsal, and (4) the judging was inconsistent the second night--all the scores were much too high. The bands that drew the second night had a better chance of going on to finals and the results proved it (table 6). The semi-finals and the final competitions are held in the Queen's Park Savannah in the Port-of-Spain on the northwest coast of Trinidad (figure 13). Bands from the south and central zones. and even those east and north whose pan yards are a long way from the Savannah, must find some type of transportation for their pans and panmen in order to compete there. Bands from the north, such as the Invaders, usually just push their pans on large, mobile, tin-roofed racks to the Savannah from the pan yard and thus do not have the added cost of transportation (figure 14). Bands that need money to transport their pans a 30 long distance are reimbursed by the Panorama Management Committee (P.M.C.) provided their transport was approved by P.M.C. and that they notified the Secretary of Pan Trinbago in writing seven days before the first competition (table 3 #1)). The final competition (table 7) is the Saturday night before Ash Wednesday. Twelve bands participate in the finals. By this time each band is sou'1ding their best. The crowds in both the north and south grandstands are at their peak of support as each band rolls out 0nto the stage. The Queen's Park Savannah The Queen's Park Savannah is an outdoor open-air wooden stage with two covered grandstands--one is on the north side of the stage and the other is on the south side (figure 15). It is located just north of downtown Port-of-Spain. The north stand hali standing room only for the younger or "rowdier" crowd. Throughout the day fans listen to endless hours of steel bands. The "heat-in-de-place:' the looseness of people "jumping-up," and "wining" (pronounced whining but means dancing), and the massive consumption of alcohol makes for the Carnival atmosphere. Conversely, the south side is somewhat calmer: the judges' enclosure is on this side and the people are generally less obnoxious. One can find rhythmic drumming ~rom the fans on this side ali well but not in the same aggressive manner as the north stands. Of vital importance is the support the people give each band. Watching and listening to the steel bands from the north stands wa'\ quite a cultural learning experience for me! Within both grandstands people were "jamming" with iron, shakers, whistles. and almost anything that made noise, including their empty rum bottles. Rhythmic accompaniment is a very important part of expression even to the older generations. This need for drumming could possibly be linked back to their African heritage: however, in this case, I feel it was just another means of expression and way of 31 making noise in the north stands. The whole event is an exciting musical experience for the performers and the spectators in both stands. Just to get into the Savannah requires a great deal of pushing and shoving. Every year they try to "mash down" the fence to avoid payLlg the $15.00 entrance fce. I witnessed the fence coming down at the 19R9 preliminaries; in fact, I was almost trampled by a mob of people trying to get in as the fence came down. The number of people "jumping up" in the north stands was so great that I am surprised the stan~s did not collapse. Pushing Pan As mentioned earlier, those bands whose pan yards are close to the Savannah must push their pans to the Savannah (figure 14). The pans hang securely from welded pan racks which have canopies on the top and large wheels on the bottom. The ritual of pan pushing was an experience I will never forget. Automobiles must yield the right of way to pan pushers in the streets. Pm pushers have to be very careful to avoid large potholes and to make sure that none of the pans bounce off their racks. Ne:ghbors w Park West Road and plays through the tune to warm up. This warm-up is done enough distance from other competing bands so that the sounds do not interfere with one another. I'm sure Charles Ives would have loved this! As the competition progresses, the bands move c10sei to the Savannah stage. The Competition Once the band reaches the Savannah, it spreads itself out on stage so that the sounds produced by its instruments disperse in all directions and reach both stands (figure 16). Sections such as the tenors, double tenors, guitars, cello, tenor basses, and basses are ------32 split up and scattered throughout the band. Even though the sections (or families) are split. the racks are fmnly placed and packed together so that each rack is touching another and fonns a huge mass on stage. The Invaders had tlifee types of racks (or custom welded stands on wheels) plus the float which housed some upper pans on the outside and the engine room (rhythm section) on the inside. The first type of rack was a large rack which Willi used for the upper pans and double guitars. These racks had sixteen positions made for pans (four across and four down). Rows one and four could be single tenors, while the inner rows, two and three, could contain a mixture of double tenors, double seconds. and double guitars. The second type of rack was about half the size of the large rack. This rack had seven or eight positions made for pans (three or four in the front and four in the back), and outfitted only two performers. Instead of each position being straight across like the large racks, the welder would make the positions in a curved semi-circle. These racks housed the triple cello or quatros in the front and four tenor bac;s in the back. The last type of rack was for the basses. These racks were similar in size and design to the cello/tenor bass racks with the exception being the rack was for one performer. Each bass rack was welded according to the number of single 55 gallon bass pans each perfonner played (anywhere from six to ten). The bassman was surrounded by basses which were placed both vertically and horizontally on his rack. Some of the best pan players (upper and lower pans) are placed on the racks facing the south stands and the judges. The other best players hang their pans around the outside of the raised float (only upper paIlS fit on the float); these pan players encircle the engine room which is in the center of the back of the float. The ironmen, people who play brake drums (,[' iron, stand behind the engine room on the very back of the float. The float stage is about 10 feet wide and 15 feet long; it is placed above and welded to an automobile chassis. The float stage sits the highest and projects above the other three types of racks. 33 As the band organizes itself on the Savannah stage, the original pop version of the soca tune is played over a P.A. system. This gives the audiences in both the north and south stands a chance to re-familiarize themselves with the pop version of the song so that the theme and variations of the arrangement can be followed. Once the band is set up on the stage and ready to play, they are allowed ten minutes to perform their arrangement. An amber light on the southwest corner of the stage signals the band members when to stan and stop (Table 3 #8g). The judges have the option to penalize arrangements that are over or under the ten minute time limit. For example, the Invader's timing in the !"mal 1989 competition was 10 minutes and 25 seconds and points where taken off the arrangement category for the extra 25 seconds. In 1989 there were five judges at the preliminaries and zonal finals and seven at the semi-finals and finals. Two alternate judges for each event were selected to cover any emergencies that arose. The score sheets for each of the judges weiC exactly the same. There were 100 possible points on each score sheet (table 3 #12). The sheet was divided into five categories: arrangement = 40pts., quality of sound (tone) = 15pts., rhythm = IOpts., phrasing = 15pts., and interpretation =2Opts. The highest score and the lowest score from the judges were thrown out; the best score a band could eam from five judges in the 1989 prelims and zonal finals was 300--points, 100 from each of the three judges (two of the five judge's scores were thrown out). The best score a band could earn for the semi finals and finals was 500 points--100 from each of the five judges (two of the seven judges' scores were thrown out). The progress for the Invaders in 1989 for each of the four competitions was better than it had been in previous years. In 1989 we scored 260 points in the Preliminaries for 2nd place, 256 points in the zonal finals for 5th place, 436 points in the semi-finals for 6th place, and 444 points in the finals for 7th place. During Carnival we competed in the Berger's La'lt Lap competition, a steel band/road band competition, in which we piaced 2nd 34 and won $2000.00 IT in cash and $1000.00 IT in paint for the pans next year (in 1989 and 1990 the exchange rate was 4.25 TT for one US dollar). In 1990 we scored 417 points in the preliminaries tieing for 9th place. 260 points in the zonal finals for 8th place. and 421 points in the semi-finals for 12th place thus missing finals by one place. We did not place in the Berger's Last Lap. Since the Panorama competition began in 1963. the Invaders have never won first place (table I). The closest the Invaders have come to winning a Panorama wa'i in 1970 when they tied for 3rd place in the finals. New Developments and Concerns in 1990 Since I left Trinidad in 1989 and returned in 1990. there have been many new developments and changes Trinidad and Tobago have always been concerned about the correct dissemination of infomlation on the history and origins of pan. In an effort (0 educate the world, Trinidad and Tobago issued some postage stamps with the various families of steel drums on them as a tribute to the homeland of the pan. The stamps were designed by artist Thomas Musso. It has taken many years for the pan to be accepted by Trinidadian society. For a long time panmen were considered pariahs (outcasts). "The steelbandsman of the 40s was a pariah and outcast, existing on the verge of civilization. He was always on the run from the law and discriminated against for his involvement in the then primitive art form."26 ll1e panmen had quite a task convincing the rest of the Trinidadian population that their intentions were good. The Trinidadian people have been trying for many years to convince the Ministry of Education to hire music teachers to educate their youth. The first School Steel Band Music Festival was not held until 1981! According to Selwyn Terradath, 26"Steelbandsman of 40s a Pariah. an Outcast," Trinidad Guardian. II December 1989: n. p. 35 Education Officer for Pan Trinbago ...... it is the most important pan event as it ensures the very survival of the an form in this country while instilling proper values and discipline into our young pan musicians."27 The Schools Steelband Festival is held every odd- numbered year in the fall while its counterpart. Pan is Beautiful. is for adult participation and is held every even-numbered year. Both of these events are held in the Savannah. There has been much pressure placed on the Ministry of Education to recognize the need for music education in the elementary schools. secondary schools (our junior high). colleges (our high school). and the University of the West Indies. I was interviewed in January of 1989 by Pan Trinbago's external relations officer. Keith Diaz. on Trinidad public radio. and was asked to express my feelings on why pan should be taught in the schools. This radio broadcast was recorded and submitted to the Minister of Education. In November of that year an article appeared in the Trinidad Guardian expressing concerns about Northern Illinois University offering a degri!t: ;.; iJ.1I1. "The news that the University of Northern Illinois in the United States is offering a Bachelor of Arts degree in steelband music should rnal(e us ash.~med of our failure to date to do so ourselves at our own University of the West Indies."28 G. Allan O·Connor. Associate Dean of the College of Fine Arts at Northern Illinois University and my former steel drum teacher. made his first trip to Trinidad in November of 1989. He met with several people. including the President of Pan Trinbago. Owen Serrette. regarding the importance of steel band education at ~he college level. Perhaps the Minister of Education. the Honorable Clive Pl1otin. was finally convinced. In February of 1990 an article in The Trinidad Guardian reari: "Pantin: Music School to be set up at UMI."29 27Selwyn Terradalh, "When Pan Lost Out To Football," Trinidad Guardian, 5 December 1989: 15. 28"S teelband Footnote," Sunday Guardian. 26 November 1989: 6. 29"Pantin: Music School to be set up at UWI." Trinidad Guardian. February 1990: n. p. 36 On January 1. 1990, the government of Trinidad and Tobago, initiated by Prime Minister Arthur Robinson, issued a 15% value added tax (VAT) which caused many financial problems for the citizens of Trinidad and Tobago. Many protests and picketing occurred around the Red House (parliament house) in reaction to the VAT. Also during the 1990 Carnival time, calypsonians protested the NCC (Naticnal Carnival Commission) and threatened to boycott the Calypso King {uld Queens Contests saying they wanted 150% more money in appearance fees. Their protests resulted in their getting the increased fees. The problems of steel band sponsorship and pan standardization are still issues and continue to be topics for debate and discussion in the Trinidad Guardian newspaper. From July 27 through August 3, 1990, there was a coup attempt and a six-day siege of the parliament building and the television station in the Port-of-Sp ni l1 hy Moslem rebel leader Abu Bakr. Baler claimed Trinidad's current prime minister, Arthur Robinson, was corrupt and must step down for early elections. "Baler has blamed Robinson for the widespread poverty in the once oil-rich Caribbean nation of 1.3 million people near Venezuela."30 This failed coup attempt finally resulted in 120 Moslem insurgents releasing more than 45 hostages they had held for five days at the parliament building and at the television station. "Industry and Enterprise Minister Bhoe Tewari has estimated that the property damage in Port-of-Spain [one third of the city is burned down] is at least $70 million. The official death toll from the failed coup and subsequent looting is 24 [suurces told me there were many more than 24 killed]."31 Not all of the rebds have been caught and the city has a curfew from 9:00 p.m. to 5:00 a.m. The fall 1990 Pan is Beautiful VI Adult Pan Festival, which was scheduled to be held in October of 1990, has been cancelled. Many businesses which helped support this festival (those who were hardest hit 30"Trinidacl Rebels Free Prime Minister," Green Bay Press Gazelle, 1 August 1990: A9. 31"Trinidad Reconstruction," USA Today, 9 August 1990: 1. 37 were located on Henry, Queen, and Charlotte Streets) were looted, destroyed, or burned down as a result of the coup attempt. Also, the current curfew hours make it impossible for the steel bands to rehearse in the evenings and prepare for Festival. The curfew hours were reduced as time passed. On December 9, 1990, the curfew was lifted with security forces remaining high. Carnival 1991 was not cancelled; however, public moral and Carnival spirit seemed a bit cautious. The War proceedings in the Persian Golf captured the hearts of many Trinidadians who chose to stay inside and watch or listen to CNN news. This year (1991) there were less bands participating in Panorama. A lot of the Conventional steel bands were experiencing problems with finding and filling their band with enough players to qualify as a Conventional steel band. These bands were also having problems finding financial support and sponsors--probably as a result of the economy after the attempted coup. TIle Invaders this year only had 47 players at the preliminary competition. We earned enough points to continue on to semi-finals but legally we could have been disquJ.iified for competing with less than 50 players. 38 CHAPTER 3 A DETAILED ANALYSIS OF RA Y HOLMAN'S PANORAMA ARRANGEMENT OF "LIFE'S TOO SHORT" FOR THE T:t~NTOC INVAD::RS USING THEME AND VARIATIONS AS THE FORMAL STRUCTURE Composer and Arranger Ray Holman Each steel band has a hierarchy of authority including the band leader. the captain. the tuner(s). the blender(s). the arranger, the section leaders, and the pan beaters. The work of the arranger Ray Holman will be the third portion of this lecture document. Ray Holman was born in 1944 in Wood brook which is a :;uburb of the Port-of- Spain in the Republic of Trinidad. There are many nationalities represented within his family heritage, but his strongest family ties link him to Africa and Portugal. He claims that his musical abilities come from his Portuguese ancestors. Mr. Holman is a performer. composer, arranger, and teacher. He wac; one of the first composers of music for the steel band. His talents have taken him to the United States, Canada, Great Britain, Costa Ric~. Columbia. and Venezuela. Ray Holman was the 1989 and 1990 arranger for the Trintoc Invaders and Carib Tokyo (figure II). It wac; quite an experience for the Trintoc Invaders to have him return to their pan yard. Mr. Holman's price for arranging their tune wac; considerably less than what he usually charges. Perhaps he was paying homage to his old stamping ground in Woodbrook where he grew up and learned how to beat pan. "The Invaders/Holman combination is. in itself, a reunion. It was from there that Holman, as a youth. honed his arranging skills. "32 In addition to his musical accomplishments. Mr. Holman also teaches Spanish in a public school. 321an Smith. "Holman Banks Starlift for Invaders:' Sunday Bunch. 15 January 1989: 6. 39 Mr. Holman has had a history of arranging high placing and winning Panorama tunes: his work has musically influenced Lennard "Boogsie" Sharpe and many other famous pan performers and arrangers. Ray Holman is musically self-taught and gets most of his arranging ideas behind his guitar. Some evenings he would ask me to teach a section of music to the band. He would scribble the names of the notes down on a piece of paper and would sing the phrasing (rhythms) he wanted. When I watched him think of a new part to teach the band, he would look up to the right and whistle the part he heard in his head. He then proceeded to look up to the left and move the fingers of his left hand as if he were playing his guitar. After that he would stare straight ahead, whistle the part, and count the timing on his fingers. I know he can read chord changes, but he can not quickly read manuscript writing. The point is, he didn't have to write out the parts. The aural transmission of parts is the panmen's learning process. Requiring them to read written music would slow down the whole learning process and would inhibit them and keep them away from the pan yards. The whole art form would be different if note reading were required: and therein lies the beauty of it. These people are true musicians and Ray Holman is truly a musical gef'i!.!s. Panorama Arrangments or Popular Soc a Music Choosing a tune to arrange for Panorama is usually a mutual decision between the pan men and their arranger. At the beginning of Panorama season it would not be unusual to find a steel band rehearsing several different verses and choruses of popular soca tunes to see which one they feel would make the best steel band arrangement. The Calypsonians (Trinidadian pop singers) usually release their newest soca albums around the tum of the new year; this provides the pan men with a fresh selection of tunes. The most popular calypsos seem to have the greatest success in Panorama. When a band plays a tune 40 everybody recognizes, the crowds generally support and relate to that anangement best. The crowd's reaction is very important at all of the Panorama competitions. In the case of the two steel bands for which Mr. Holman arranged in 1989--the Trintoc Invaders and Carib Tokyo--he chose to arrange his own compositions. He wrote the soca tunes "Life's Too Short" and "Carnival is f'.1h Woman," with steel band arrangements in mind. The Calypsonian he selected to sing both these selections was Suzanne Wallace. Both of these calypsos had catchy lyrics and complex harmonies. Both Carib Tokyo and the Invaders tied for 7th place in the 1989 Panorama finals. I believe they didn't place higher because Ray's original soca tunes did not reach the public in time and thus they were not as popular as some of the other soca tunes. If the recordings had not been released so late into the 1989 Carnival season, the support from the fans would have been greater. The crowd's support really should not influence the judges decision: however, I felt it did. What makes a tune popular? When I first arrived in Trinidad I was bombarded by the numerous popular soca tunes on the radio. The tunes which became successful were those that had catchy melodies and lyrics and were played the most frequently on the radio. Those calypsonians who have financial support to produce a music video get their music aired on T &T-TV which is similar to our M-TV here in the United States. The public hears soca blasting most regularly on the radio. in the pubs, and in maxi taxies. Street vendors (referred to as soca pirates) blast their bootleg copies of soca music as shoppers pass them by. Basically, if you just walk around outside in Trinidad, you are bound to hear soca music. The people in Trinidad listen to and mainly support one style of music: soca. Rock music by American artists can be purchased, but the record stores contain mostly soca recordings. Everywhere I traveled I could hear and find soca music. In addition to the catchy melodies and lyrics, the Trinidadian accent and word emphasis adds the finishing touches to making a tune popular. The Calypsonians use 41 personification, alliteration, satire, irony, double entendre, onomatopoeia, and many other forms of poetry to capture their audience. The first time I played the pop version of "Life's Too Short" for one of my theory professors, he asked me what language it was. The native Trinidadians speak in an English dialect. "Trinidad is indeed a very unique place .. .its language, while Britannic in essence, is thoroughly marinated with the elusive Spanish gold, French assaults. and a history rich from the cross-mingling of the sweat of slaves, with the vicissitudes of aristocracy. Entire villages still use the Patois, (broken French) and some Spanish speaking territories not only still exist, but strongly flourish through their music and folk dances inherited from generations past. "33 The language of the Calypso songs changed from French patois to English in the early 1900s. One of the panmen in the Invaders pan yard, who went to college in Canada. told me some Canadian students a'iked him where he learned to speak English. He {eplied sarcastically. "On the plane on the way over here." There is often this misconception that the native islanders are somewhat savage or primitive. Their language is English: they simply put the emnllilsis on different syitillies. Orchestrating a Steel Band Arrangement The variations. octave displacement. rhythmic complexity. and orchestration of the melody constitute the theme and variation process of a Panorama tune. Back in the 1950s when Calypso music was new to the pan. the melodies were generally given to the pmg pong or soprano pan. which at that time could only play in certain keys. Today the instruments are chromatic. have standardized note patterns, and utilize much more 33 John Mendes. Cote ce Cote la: Trinidad & Tobago Dictionary (Trinidad: Mendez publications. 1986). p.i. 42 sophisticated octave tuning. In the steel band arrangements, the melodies of the verse and chorus are arranged to feature each section of the band. The Invaders Steel Band had exactly one hundred members. They played on a family of steel drum instruments ranging from the lowest to the highest voices: 6,8,9, and 10 bass pan sets; tenor basses; guitars; triple cello; four pan; quads; double seconds; double tenors; and single tenors. As part of my research in Trinidad, I documented the Invader's Panorama tune, "Life's Too Short," by individually tape recording each section leader's part from beginning to end. I then transcribed their parts onto a score for further analysis. This type of documentation was done first by Jeff Thomas in 1985 for Exodus. These scores are valuable to scholars who want to further their knowledge of authentic steel drum arranging provided they are done correctly and ethically. These scores are also valuable to Trinidadians like Ray Holman who said he would like to see his music preserved in print. Panorama arrangements have a lot of doublings of parts. For example, the tenor bass plays the same notes as the bass only an octave higher. T.l~ cello, guit:lf, four pan and quads also have very similar parts and functions (appendix A). It would have been redundant for me to write out all of these doublings in score form. There are instructions for these doublings in the preface of this score which make for an accurate transcription of this Panorama tune. Also, the whole score (appendix B) is saved on a computer disk and a tenor bass part could ea~ily be created by simply printing the entire bass part up an octave. Furthennore, most steel bands in the United States do not have tenor basses, guitars, and four pans and thus it would impossible for us to duplicate the sound exactly. Objectives of Panorama Arrangments The object of most Panoram? arranrements is to move a~ far away as possible rh)'thmically, harmonically, and melodically from the original verse and chorus by utilizing 43 melodic fragments of these themes as an identifiable basis of composition throughout the variations; all within a ten minute time limit (appendix C). The reader may find a tape of the University of Arizona Steel Band perfonning "Life's Too Short" with Ray Holman as guest aritist in the U of A music library: the concert date was April 10, 1990. Theme and Variation The formal idea of theme and variations is European and indicative of hundreds of years of European cultural intluence in the West Indies. The first Spanish settlers of Trinidad and many others who followed--the French, English. East Indians, and Chinese-- brought with them their musical heritage. The Spanish people wer\? experimenting with bass ostinato patterns such as the chaconne and the passacaglia as a framework for improvisation around the time the West Indies were being discovered. "Around the middle of the seventeenth century, a keyboard piece buill on a repeated series of harmonies ... would probably be called a chaconne, while one featuring the fixed bass line would be called a passacaglia. Both obviously belong to the general category of variation. "34 The formal structure of "Life's Too Short" is a double theme and variation based on two themes as stated in the original verse and refrain or chorus. The complete composition contains an introduction: the original verse and chorus (which constitute the two themes): four variations on the verse and chorus: three transition sections with pivot chord modulations moving from C major, to F major, to Bb major, and back to C major: two interludes: a recapitulation of the original verse and chorus: and finally a coda (appendix C). 3400nald Jay Grout. A I/istory a/Western Music. 3rd cd. (New York: W.W. Norton & Company. 1980). pp. 316-317. 44 Melodic Analysis There are two predominant melodic fragments; one from the first theme (C,C,C,C,G,E,E,E,E,C) and the other from the second theme (G,F#,G) from the lyrics "Life's Too Short." These fragments are used throughout the composition (appendix D). The melodies of the verse (theme 1) and chorus (theme 2) are orchestrated to feature both the upper pans (tenor, double tenor, and double seconds) and the lower pans (double guitar, quads, triple cello, and sometimes the bass). The original verse and chorus of "Life's Too Short" assign the upper pans the entire theme. As a variation technique, the lower pans take the theme in the first variation of the verse. The upper pans then take the theme back in variation 1 on the chorus; this time it is played in an ornamented version similar to the style of a jazz improvisation over the original melody. This type of melodic swapping between the upper pans and the lower pans takes place throughout the entire tune. As the arrangement progresses the melodic fragments become aural anchors that remind the listener of the two main themes (appendix E). Harmonic Analysis Compared to all ofthe other Panorama tunes in the 1989 season, "Life's Too Short" contained the richest chord sonorities. Holman utilized diminished chords, augrllcl-I'';;~ .::hurds, extended chords, and chords over pedal tones (appendix F). Many of the judges commented on his rich chord colors. It is interesting to note that the harmonic structure does not deviate much from the original verse and chorus. For example, in the second measure of the original verse, Holman uses a diminished seventh chord as a vii of V in the established key center. This diminished chord can be found in the same location in every variation transposed exactly (see measures 13,31, 61, 91. 119, and 194 in appendix B and appendix G). Most of the deviations from the original harmonic structure 45 are chord extensions or slight harmonic alterations (see measure 103 and compare it to measure 140 in appendix B). I have selected to use popular lead-sheet style chord symbols to notate the harmony because of the American jazz illtil.lence ami orcht!suarion. Tne chord progressions in "Life's Too Short" use some standard American jazz cliche' tum arounds, e.g., measures 16 through 19 of the score (appendix B). "Jazz and pan have a common denominator; they are both 1i1uslcal expressions of the dispossessed descendants of African slaves who had been brought to the 'New World' stripped of their humanity, culture and freedom. The steelband evolution in Port-of-Spain, and the birth of jazz in New Orleans, took place under simihif conditions. The jazz musicians obtuined discarded instruments while the panmen created tneir own from refuse. "35 American jazz music reached Trinidad in the 1930s through motion picture films, sheet music, recordings, and radio broadcasting. Many of the early metal-beating bands would even go as far as naming. themselves after American films. One such film was "Alexander's Ragtime Band" which was released by Twentieth Century-Fox in 1938.36 This is one of the theories about how the Alexander Ragtime Band got its name. The orchestration of "Life's Too Short" uses jazz voicing techniques. Harmonies are voiced close on top and open on the bottom of chords--like the overtone series. The upper pans are harmonized like a saxophone section in a jazz band; the melody is doubled in octaves with tight harmonies in between (see measures 30-31 in appendix B). Mr. Holman used all pivot chord modulations in "Life's Too Short" to move from key to key (rr.~asures 59, 88, and 185 in appendix F). The last pivot chord modulation in measure 185 leads back into the original verse and chorus in its home key of C major 35Selwyn Tarradath, "Common Denominalor for Jazz, Pan," Trinidad Guardian, 29 Seplember 1989: IR. 36Jeffrey Ross Thomas, A llistory of Pan and the Evolution of the Steel Band in Trinidad and Tobago. (M.A. Thesis, Wesleyan UniversilY in Middlelon, Conneclicul. 1985), pp. 110-113. 46 (measure 185-192 of appendix B). A very rich sequence of fully diminished seventh chords in measures 189 and 190 adds the last touch of harmonic tension before returning to the home key of C major. Rhythmic Analysis The rhythmic elements are the most interesting variation devices in the Panorama arrangements today, The rhythmic background can be traced back to slave laborers who brought with them their cultural customs--specifically African drumming. Since the slaves were brought over to the Caribbean in the 16th century. they have over the centuries influenced many genres of music including American jazz. Cuban salsa music. Jamaican reggae music. and Trinidadian calypso music. As discussed previously. the steel band evolved out of the lower classes by way of African drumming. tam boo bamboo bands. and early non-pitched metal-beating bands (appendix H). It seems like whenever the upper classes would ban the lower classes from playing their instruments. the lower classes would invent another one. Whatever the instrument was. the highly syncopated and polyrhythmic patterns were predominant. Two significant rhythmic parallels can be drawn between the instruments of the tamboo bamboo band and the modem day steel band. In the tamboo bamboo bands the bass instruments. called bass boom. set rhythmic ostinatos by stomping their bamboo tubes on the ground. The individual pitch produced by each bamboo pole as it would hit the ground would form a low rhythmic and melodic foundational bottom for the smaller bamboo instruments to improvise their complicated rhythms over. As the bamboo instruments were banned. the bass booms were replaced by larger pieces of metal (such as gas tanks and garbage cans) and were used to set these rhythmic ostinatos in the non pitched metal bands. Today the bass pans in the modem day steel band play similar 47 rhythmic ostinato patterns laying down the rhythmic and hannonic foundation for the upper pans. The second rhythmic parallel from the tamboo bamboo bands comes from the rhythm of the cutter (or chandler) (figure 4b). The rhythm from the cutter pierced out over all the other bamboo instruments keeping the bamboo ensemble together (compare appendix H, bamboo 3 to appendix I, iron 2). This is also the function of the iron section from the engine room. The hl.}uuments and rhythmic parallels of today's engine room can be traced back to African drumming. African drumming instruments found in the modern day steel band include the conga drums, descended from early African skin drums: tambourines, descended from rattles and pods sometimes referred to as shac-shac (maracas); and cowbells. The soc a beat of L~e drumset player has the syncopated quasi-hemiola 2 against 3 feel which is descended from an old African skin drum beat (appendix I). The inner parts of the steel band also have rhythmic responsibilities. In a Panorama arrangement, and in most steel band repertoire, whenever the inner instruments (e.g., double seconds, double guitars etc.) are not playing a specific melodic line, they rhythmically strum the chords. The strum rhythm is determined by the arranger and requires the performer to play two pitches simultaneously. Strums are used to sustain the harmonies while other parts prevail. The strumming patterns are felt by the Trinidadians. In Western notation, the prevailing strum for "Life's Too Short" was on the second and fourth sixteenth-note subdivision of each beat in quarter time. This constant syncoration and strumming of the chord changes gives the feeling of pushing ahead while maintaining the harmonic structure. The melodic fragments from the verse and chorus also form rhythmic motives which Holman uses to link the entire composition together (appendix J). The rhythms from the opening statement of the verse and chorus come from the lyrics. For example, 48 rhythmic motive 2 from the original chorus (measure 21) comes from the words "Life's Too Short" which utilize three notes over four beats of quarter time ("Life" gets a dotted eighth note, "Too" gets a sixteenth note, and "Short" receives a dotted half note). Holman alters the rhythms of these three notes in augmentation and diminution throughout his composition (compare measure 21 to measures 54,84, and 203 appendix B). One can sing the words "Life's Too Short" to the above examples. One of the climaxes of this arrangement is found in interlude 2 (measures 131-136 of appendix B) where Holman emphasizes the rhythm by using question and answer between the lower pans and upper pans on a single chord sonority. The rhythm between the upper and lower pans (measures 134-136 of appendix B) creates a tension on the dominant sonority (F7) which resolves into the last chorus variation of the tune (measure 137 of appendix B). La'itly, the third transition section of "Life's Too Short" (starting at measure i 45 of appendix B) develops the melodic fragments, utilizes harmonic extensions (see measure 146 beat 4 of appendix B), and develops the rhythmic one-note theme (see upper pans in measures 153-156 of appendix B) over a two measure bass ostinato (measures 145-156 of appendix B). Research Objectives and Conclusions In conclusion, the outcomes of my three trips to Trinidad in 1989, 1990, and 1991 were very successful. My main objectives were to gather information on the history of pan, perform with a Trinidadian steel band and transcribe a Panorama arrangement. From my library research I feel that I nearly exhausted all of the available sources on the history of pan and that I have acquired an abundance of information to share with others. My objectives for participating with a Trinidadian steel band were to understand the structure of Panorama, experience rote learning, transcribe a Panorama tune, update and 49 authenticate my personal arranging techniques, research the panmen, and gain a greater awareness and appreciation for Trinidadian music and culture. The most challenging of these objectives was fulfilled by performing with the Trintoc Invaders in the 1989, 1990, and ) 991 Panoramas. I had the experience of winning with them and losing with them. Living in Trinidad for five weeks in 1989, four weeks in 1990, and three weeks in 1991 also gave me a better understanding of the culture and music of their society. Playing with a hundred piece steel band was the experience of a lifetime. I gained knowledge by performing with the Invaders, documenting the arrangements I learned each year, and participating in rote learning/teaching experiences. One of my goals was to build a better musical communication and awareness between the United States and Trinidad. My transcriptions of Ray Holman's 1989 and 1990 Panorama tunes will provide an authentic example of a Trinidadian arrangement for scholarly study. Both countries. Trinidad and the United States. are concerned about the dissemination of correct and current information (e.g., history of pan, authentic Trinidadian playing style, rote learning. etc.) when teaching steel band as part of a music education program. The University of Arizona. as stated in a radio interview with Pan Trinbago's External Relations Officer Keith Diaz. is recognized by Pan Trinbago as a major center for ~teel drum education in the United States. Future Objectives It was difficult for me to condense the amount of information I gathered from my research in Trinidad to fit the boundaries of this lecture document. One of my future objectives will be to expand on the information presented in this document and write a book. In addition to wanting to gather as much information as possible about the history of steel bands in Trinidad, I have also been collecting information on the steel bands in the United States. Since I began my research, I have noticed a surge byethnomusicologists 50 and folklorists to document the history of pan and musical developments in Trinidad. I am anxious to read, collect, digest, and share their work with others! The last two years I participated in Panorama. The time has come for me to investigate the classical aspect of pan. I am concerned about the current political conditions and recent coup attempt on the Trinidad government. I was hoping to go to Trinidad in October of 1990 to participate in the fall Pan Festival (Pan is Beautiful VI). but the current curfew has prevented the bands from rehearsing, and many businesses who sponsor this festival have been looted or destroyed in the failed coup attempt. The 1990 Pan is Beautiful VI has been cancelled and I will have to wait two more years to participate. Finally, I hope to visit Trinidad as much as my new job permits. One can read and look at pictures, but book It!ariiing can never replace the real experience. TOBAGO po TRINIDAD BlancIIlucwc Q Ip 2pk ... • ....'TI ..... San&r. Grand< 0 _an C c:::;J.' -: ;:-:; ."' .. m~ ·t?G...... t:"S~\';;':/):":'~~>;:' Q - 'U.....w. Tonup :\v:-~~.~.i:'" 3: CARI6/IEAN SEA I) Villaa at.: ';"'~ ...... NorlWl Cl '0- '0 ...... ,0 ~. ":;;i"::;~~::/;;·'i',,,<:,,,.. ~. ::l. • ,. NOKTH '." ~ . ' .•.•'.l': ... :.~, •. ::l NAPARlMA ...:-: s: Princes. -::'SAVANNAH Cl ~ Co SOIJ1ll Town GRANDE NAPARlMA '"0 § ~ Co ~---·---:-n ...... , . Si . VfUPVU' ht L"I'''''' 0 C1' Cl 'oP'... •• OQ ~:;~;;:,??;';i"S"J;;",.,,,.f'~1'!Z1~'~~;,~'~5.E:~J:~~~';":. 0 VI 52 FIGURE 2: Carnival 1888 on Fredrick Street. Pon-of-Spain :,~,.,:,.~~~,,;',', ;::.. ,~"i~~~f'_~ .;~ ~ ~r·~F~!":J'!"~~= '~ . ;,; ... ~ '-, t~.~ t:.~. , ..0.· . - , J' I . .<#]I~ -.. :~~ J "From Errol Hill. The Trinidad Carnival (1972)." 53 FIGURE 3a and 3b: Stickfighting Figure 3a: Stickfighting among slaves {! 779). Courtesy of the Barbados Museum and "From Errol Hill. The Trinidad Carnival (1972)." ...... -. I .~ ... 1" : Figure 3 b: Stickfighting Today (1972). Courtesy of the Trinidad Guardian -. and "From Errol Hill. The Trinidad Q!mivilJ. (1972)." 54 FIGURE 4a: Tamboo Bamboo (1930s) plctomal hIstoRY or U1€ St€€lnanb • Trinidad ~ Tobago's Girt to the Musical World TAMOOO DAMOoo BANI) OF TilE 19JO', - 10",Nnn., 01 the ,1 •• lb.nd - ·Ih. T,,,,l>oo 113",boo R.nd ..at I ",.k.. :,llt percuision orehosl.1 "hleh prol'ldod .hylhll,l•• Cco"'I,.nlmcnt lor r.. ell.r~ JJ Ihey "r1,lp,,<.I" Iloni .nd ..,n; popnlor ..1)'1'10<1 01 Ihe d,y. In,l,u"' Courtesy of the University of the West Indies. 55 Tamboo Bamboo Figure 4c: An artist's depiction of the Carnival tarnboo bamboo in the 1930s. "From Michael Anthony, Parade of the Carnivals of Trinidad 1839-1989." 56 AGURE 5: Metal-Beating (pre-1945) Courtesy of University of Texas Press and "From Errol Hill. The Trinjdad Carnival (1972)." 57 . - ..J:!9URE 6: Early Steel Band (late 1940s) ~!ctoRl"l h IStol?Y O~ tJl€ St€€l&\nb • Trinid"d e Tob,tgo's Gift to the Musical World r, rnACTIC( SESSION IN Tile I ?40', Tht 19"0', mhrfrd In rhr 'rl of Iht Iltd prrclI\,lon orchtSlr.l. Vrry rJfl,. In rhl, N.J. I I,I:I)'C'" .lIrtUl,rlll, In rCihlpt' his pill. dis· n.tntd .rltr IUlllinC'd bfalln•. leclden'ally diKo¥C'rrd Ihll hr ('uuM ,.fllt'uee mUl;nl noltl by rounclin. tht" surfur of Iht "in oul ••,.,Js. 11 w;" .hh «thcove'r), ..hieh ltd 10 .1It d('\'('loIIIII('nl or Iht' (i", MC'Iudy rln . Ihr fnrrfU"nt'r of ludn,.'1 'rllUf p.1n. Duo"C'd by 'hil Illrl' (\(owcl"IUllt"" Ihl" 1"11 riunC'cu I)CUt',,',C'd In Iht conlilUlrd d('vrln"mrnl Ind ltC"rrrcliun IIr Ihis Ir1l1y UI1"III(' h"rrulm:n' d('spile .he tl(,lUu,,,ru'C'(' ,("(''''111(,111 or 111C'ir 1U!'I11,. d<'Ir:lclun in Iht UPI'tf Il1timl,ftJlc (tusn ur thl' lucirty Inti the Ix-II drorls t.lr Ihe r:ul1sl~bubry Iu flub .hll Wli rUlI,i,I('rl'ti I Iluhli< IIlIi~ll(,"l'. U"I Iht .r.\uonl, in Ihr lucidy h:.. 1 rUllnd I nrw mrtliun1 10 t('nl Ih('ir (uslulinn, Illd c":tnnC" IhC''' rUNIIt's Illd Iheir dt'lC'rmiu:tlloll '0 "C'nrvtrC' W:U 10 rC'c("I'f Iht support ur r("'I,C'clC'd txnf'r.cfun in Ihl' rU"I"lunily. Ar'('r Iht' If)., I C:lrnlul, .'r('('1 Ilnltks ..crr hlnnrd IS Ih(' "lIirel rorcC'l rnl:tK('tlllill"" troop' In Ilir Sec"nd Wo,ld Wlr ,"d II WII I' It unlil May hlh. 19,15, Viclory uytr [urol'C' d.y , Ih.1 'h" r:tI1I11(," "'C'rr Ibk' 10 tli\I'I.J~ thrir r~".r or nrw I',,'rumcnls. ThC'\(" inrlutkfl the Mdu,'y r,n; Iltt CrtllulJ'"r rln: Ind Iltt l. ,dul' Piln. Dy (':.,,,":1119,.,..,. younll~nnlll, callcd WlnsIun "Sl'f(,"" Simon '1\'(' ~ rrcllill.n. ,try 't(('I,II"r Imlitl1ct ",hleh 11I"lulitd 11i(' rhC'n GO¥(,lnnr 11111 hi' ",ire:, \'Ir ufulr Ihr llio"rtlS .nft urly bC'ntrilclotl or .hr Itndlllark 1'("llud ur Ih(' 1940's. Courtesy of the University of the West Indies. 58 Courtesy of Rhyner's Record Store, Port-of-Spain. FIGURE 8a and 8b: Percussion Instruments of the Early Metal Bands such 59 as the Alexander's Ragtime Band. Courtesy of Oxford University Press and "From John Bartholomew, The Steel Band." 1-{\i.OW'" 8~\co6b Mlb &,t(f1'&Cl~b 'lO,", ~ ~UtI\s\.ti,-{\tc;. R~W.\.\,~~ \,oI~~ J.lO{ {o ~t bAU..-<£b,A~ 5O,Coto&1'\WU5.b -fo ,\.~~ M~,G-RA&S\NG 1'~e, N~A~~~"'{ buS.-(' OR 't\N P~N -<0 R~'\.."C6-1'W&'~ &R0K6M B.A toI\130 0 FIGURES 9a and 9b: Pan Around the Neck (early "pitched" bands) 60 Figure 9a: The Invaders Steel Band in 1952 playing pan on the road. Courtesy of Vernon "Birdie" Mannene and "From Michael Anthony, Parade of the Carnivals of Trinidad 1839-1989." Figure 9b: Ole Time Steel band. Courtesy of the Trinidad Guardian (1990). 61 FIGURE 10: Trinidad All Steel Percussion Orchestra TASPO ..: ... ~ >": •. . l \#'" I . '. ~~.",,,.... ;>~) ....: ...... ~ ,...... ~., ..: .. ~ .. ' lOt:' ... ' '."; .., . .* ...... x~ ... ~ .: .. : ..... ' .."~ Performance in London (1951), Sergeant Joseph Griffith directs. "From John W. Nunley and Judith Bettelheim, Caribbean Festival Arts." 62 FIGURE 11: Ray Holman Courtesy of the Trinidad Guardian (1990). FIGURE 12a and 12b: The Invader's Pan Yard 63 Figure 12a: This view depicts the legendary breadfruit tree which is a talisman to the Invaders (1989). Figure 12b: Pans waiting to be blended after a long evening of rehearsal (1990). 64 FIGURE 12c: The Invader's Pan Yard Figure 12c: Vernon "Birdie" Mannette measuring out a guitar pan for the Invaders (1989). 65 HGVRE 13: The Savannah's Location in the Port-of-Spain The Invader's Pan Yard 66 FIGURE 14: Pushing pan to the Savannah Invaders supporters helping push pan out of the pan yard and onto Tragarete Road (1990). 67 FIGURE 15a: The North and South Grandstands The Queen's Park Savannah facing west (1990) ------68 FIGURE 15b: The North Stands The Queen's Park Savannah (1990) 69 FIGURES 16a and 16b: The Panorama Performance Fi!";ure 16a: The left side of this photograph is the south grandstands where the judges sit. One can get an idea of the racks of instruments packed closely together for the 1990 semi-fmal performance. Figure 16b: The Flag bearers are now facing the north grandstands on the right side of the photograph. In the back center one can see the float which is in the center of the packed racks. 70 TABLE 1 PANORAMA WINNERS 1963 Pan Am North Stars 1964 Pan Am North Stars 1965 Guinness Cavaliers 1966 WITCO Desperados 1967 Guinness Cavaliers 1968 Solo Harmonites 1969 ClBC Starlift 1970 WITCO Desperados 1971 Solo Harmonites & CIBC Starlift 1972 Solo Harmonites 1973 Catelli Trinidad All Stars 1974 Solo Harmonites 1975 Maritime Hatters 1976 WITCO Desperados 1977 WITCO Desperados 1978 Trinidad Tesoro Starlift 1979 NO PANORAMA 1980 Catelli Trinidad All Stars 1981 Catelli Trinidad All Stars 1982 AMOCO Renegades 1983 WITCO Desperados 1984 AMOCO Renegades 1985 AMOCO RentgaUt!s & WiTCO Desperados 1986 Catelli Trinidad All Stars 1987 Phase II Pan Groove 1988 Phase II Pan Groove 1989 AMOCO Renegades 1990 AMOCO Renegades 1991 WITCO Desperados 71 TABLE 2 SPONSORS FOR TOP STEEL BANDS American Stores Department Store Ltd. Sponsors: Exodus AMOCO International petroleum products manufacturer. sponsors: AMOCO Renegades BWIA British West Indies Airways Sponsors: Invaders Carib Trinidad beer company Sponsors: Carib Toyko Catelli Catelli Primo Ltd. which are food manufactures. Sponsors: Catelli Trinidad All Stars Coca Cola u.S. soft drink manufacturer. Sponsors: (many) Dunlop Rubber manufacturer. Sponsors: Dunlop Tornadoes Fertrin Sponsors: Fertrin Pandemonium ISCOTT Iron and Steel Company uf Tliliidad and Tobago Sponsors: ISCOTT Casablanca N.B.C. Stag National Brewing Company (Stag Beer) Sponsors: (many) T&TEC Trinidad and Tobago Electricity Commission. Sponsors: East Side. Motown. Power Stars TRINTOC Trinidad and Tobago Oil Company Sponsors: TRINTOC Invaders Vat 19 Rum company. formerly Fernades Sponsors: Fonclaire WITCO West Indian Tobacco Company Sponsors: WITCO Desperadoes 72 TABLE 3 PANORAMA RULES PANORAMA 1990 1. MANAGEMENT. Panorama 1990 will be sponsored by the National Carnival Commission (N.C.C.) in collaboration with Pan Trinbago. It will be managed by a Panorama Management Committee (P.M.C.) of seven (7) members comprising four (4) representatives of the National Carnival Commission and three (3) representatives of Pan Trinbago. 2. REGISTRATION. (a) Registration is open to all established resident Steel bands in Trinidad and Tobago. (b) In Trinidad, Conventional Steelbands will not be permitted to panicipate with less than fifty (50) players or with more than one hundred (100) players; and Ole Time Steelbands with less than thirty (30) players or with more than fifty (50) players. No Ole Time Steelband is permitted to have while performing, any instruments resting on the floor of the stage or on any stand and each player must fully support his/her instrument while playing. (Instruments to mean - one pan per man). In Tobago, Conventional Steelbands will not be permitted to panicipate with less than thirty (30) players or with more than one hundred (100) players. 3. QUALIFYING ROUNDS. (a) f relim inaries will be held on a Zonal Basis on the following dates: I. Ole Time Steelband - 9th February, 1990 Frederick Street. P.O.S. 7:00 p.m. 2. South/Central - 10th February, 1990 Skinner Park. San Fernando 2:00 p.m. 3. North/East - 11th February, 1990 Queen's Park Savannah, P.O.S. 10:00 a.m. 4. Tobago Zone - 13th February, 1990 Shaw, Tobago 8:00 p.m. (b) In the above mentioned Preliminaries, bands will compete for places in: (i) The Zonal Finals. (ii) The National Semi-finals. At the conclusion of these Preliminaries, Steelbands will be selected in order of merit, based on points awarded to go forward as follows: (i) Ten (10) Ole Time Steelbands for the Semi-finals at Skinner's Park on Sunday 18th February, 1990 at 8:00 p.m. 73 (ii) Twenty (20) Steel bands for the National Panorama Semi-finals at the Queen's Park Savannah, Port-of-Spain on Wednesday and Thursday, February 21st and 22nd respectively. (c) At the conclusion of the Preliminaries in each Zone, eight (8) Steelbands will be selected on the basis of points awarded to participate in their respective Zonal Finals. 4. ZONAL FINALS. The Zonal Finals will be held as follows: (i) North/East Zone Queen's Park S 5. NATIONAL SEMI-FINALS. The Panorama Semi-finals will be held at the Queen's Park, Port-of-Spain on Wednesday 21st and Thursday 22nd, February, 1990, from which a total of eleven (11) Steelbands will be selected in order of merit, based on points awarded,for the Finals and the National Panorama at the Queen's Park Savannah, Port-of-Spain to compete against the 1989 National Steelband Champion. The Ole Time Steelbands Semi-finals will be held at Skinner's Park, San Fernando on Sunday 18th February, 1990, from which a total offive (5) sieelbands will be selected in order of merit based on points awarded, for the finals to compete against the 1989 Ole Time Steelband Champion. 6. NATIONAL FINALS The National Panorama Finals will be held at the Queen's Park Savannah, Port of-Spain on Saturday, February 24, 1990 at 7:00 p.m. The 1989 National Steelband Champion will draw with other qualifying Steel Orchestras for a playing position before participating in the Finals of the 1990 National Panorama Competition. 7. JUDGING AND AREAS OF JUDGING. (a) A panel of seven (7) judges will adjudicate the preliminaries as indicated hereunder. However, two (2) alternative judges will also be selected, so that in tht: t:vent one or more of the seven (7) judges cannot adjudicate, an alternate judge or judges will join the panel and adjudicate where necessary. A panel of five (5) judges will adjudicate the preliminaries of the Ole Time Steelbands. (b) The highest and lowest points awarded to each band by the member of the panel will be excused, and the score to be awarded will be the aggregate points of the other three judges. (c) In the event that two or more members of the panel awarded the same score to a band at the highest or lowest level, only one of these scores at each level will be eliminated. 74 8. PRELIMINARIES. (i) North/East Zone February 11th 19~ (ii) Ole Time Steelband - February 9th 1990 South/Central February 10th 1990 (iii) Tobago Zone February 14th 1990 From these Preliminaries the judges will select, on the basis of the points awarded the following: (a) (i) Ten (10) Ole Time Steelbands for the Ole Time Steelband Semi-finals. (ii) Eight (8) Steelbands from the East. North. South/Central and Tobago Zones for the Respective Zonal Fin? Is. (iii) Twenty (20) Steelbands for the National Panorama Semi- finals. (b) A panel of Judges. preferably the same judges who adjudicate at the Preliminaries, should adjudicate the National Panorama Semi-finals from which will be selected in order of merit, eleven (11) Steelbands to compete against the 1989 Panorama Winners, at the National Panorama Finals. (c) A Panel of Seven (7) Judges will also adjudicate the National Panorama Finals and the Ole Time Steelband Finals. (d) A Panal of five (5) Judges will adjudicate each of the Zonal Finals. (e) Steel bands are required to observe the undermentioned procedure as indicated in (g) that will be adopted in respect of the commencement and conclusion of their pprformances at all competition venues. <0 In the event that there is a tie in the last qualifying position. the tieing bands, will all qualify for the next round of the competition. (g) (i) Steel bands on reaching the area of judging should stop playing until the amber light or amber flag in the area of judging is shown to indicate that the judges are ready to adjudic .. :e. (ii) A red light or red flag will indicate that the Steelband must go into position to commence playing. (iii) No Steelband should commence playing in the areas of judging before receiving the signal from the amber light or amber flag to do so. (iv) An amber light or amber Flag will indicate that the Steelband must commence playing its tune. (v) A green light will indicate that the Steel band should proceed along the parade route. (vi) Each Steelband will perform for a maximum of ten (10) minutes before the panel of judges. Judging time will commence as from the start of the Steel band's performance before the panel judges. Ole Time Steel bands will perform for a maximum of eight (8) minutes before the panel of judges. (vii) The decision of the judges shall be final and binding. 9. DISCIPLINE (a) The leader and officials of all competing Steelbands will be held responsible for having the members and instrument<; of their Steel bands at the respective 75 venues of the competition and must be in their respective position as selected by ballot, not later than thirty (30) minutes before the Steelbands is du\! to commence its performance. (b) All Steelbands must appear in the order in which they draw by ballot, and any Steelband failing to observe this rule, (without good and sufficient reason satisfactory to the Panorama Management Committee (P.M.C.) shall be subject to disqualification from the contest). (c) If any band or bands should fail to appear in the position in which they were due to appear as selected by ballots (whatever the reason or reasons), the next Steelband due to appear in the order as selected by ballot, must appear if requested to do so by the Joint Management Committee or its duly authorized representative. (d) Any Steel band whkh willfuHy impedes another Steelband from appearing in the order in which it was due to appear shall be subject to disqualification. (e) Any Steelband remaining within the area of judging and refusing to proceed when requested to do so by authorized officials shall be subject to disqualification. (f) No unauthorized persons (followers, spectators, etc.) will be permitted in the area of judging in any Steelband and the members (Le., players, pushers, officials) should be made easily identifiable. (g) Each Steelband shall have on its banner, prominently displayed its name and leader, composer, arranger and the title of the tune the Steelband is playing and the number with respect to the position in which the Steelband is appearing. (h) For the competitions, Steelbands are required to play the tune of a calypso sung or published for the first time after Ash Wednesday following the previous Carnival. Such calypso tunes can be composed by anyone, calypsonian or otherwise who is a native and/or national of the Caribbean region. (i) Failure to comply with (a-i) could result in bands being subject to a fme of which the sum would be determined by the members of the Panorama Management Committee (P.M.C.). (j) In accordance with the decision arrived at and an agreement reached at the 1984 Bi-annual Convention of Pan Trinbago, each Steel Orchestra shall contribute ten percent (10%) of its gross earnings from Panorama 1990 to the Central Body of Pan Trinbago. The National Carnival Commission and the Minister of Youth, Sport, Culture and Creative Arts are hereby authorized to make the appropriate deductions from the said gross earnings of my Steel Orchestra and pay the same over to Pan Trinbago whose receipt for such payment shall be a good and sufficient discharge in respect thereof. This contribution replaces the annual subscription fee of $200.00. (k) The Panorama Management Committee has no control over the playing of the band's tune of choice by the resident OJ. at the respective venues before the band's performance, except that the Panorama Management (ii) ZONAL PANORAMA. 76 Committee has the authority to indicate a suitable cut-off point to accommodate commencement of a band's perfonnance. 10. APPEARANCE FEES AND PRIZE MONIES. Appearance fees and assistance to bands will be as follows: NATIONAL AND ZONAL PRELIMINARIES: APPEARANCE FEES. (a) Preliminaries Conventional Steelbands $1,750.00 Pan-Around-Neck $1,200.00 (b) Semi-finals Conventional Steelbands $2,500.00 Ole Time Steelbands $600.00 ASSISTANCE TO BANDS (a) Preliminaries Conventional Steelbands $6,250.00 Pan-Around-Neck $2,500.00 (b) Semi-Finals Conventional Steelbands $2,750.00 Ole Time Steelbands $600.00 The cash prizes for the competitions will be as follows: (i) PAN-AROUND-NECK. 1st $3,500.00 2nd $3,500.00 3rd $3,500.00 4th $3,500.00 5th $3,500.00 6th $3,500.00 7th $3,500.00 77 1st $6000.00 2nd $6000.00 3rd $6000.00 4th $6000.00 5th $6000.00 6th $6000.00 7th $6000.00 8th $6000.00 (iii) NATIONAL PANORAMA. 1st $20,000.00 2nd $20,000.00 3rd $20,000.00 4th $15,000.00 5th $15,000.00 6th $15,000.00 7th $10,000.00 8th $10,000.00 9th $10,000.00 10th $10,000.00 11th $10.000.00 12th $10.000.00 N. B. Eligibility for appearance fees, prizes and assistance to bands is contingent on a band appearing and perfonning before the judges. 11. TRANSPORT. (a) The Secretary of Pan Trinbago must be infonned in writing by the leader or secretary of each band not later than seven (7) days before competition of transportation that is required for the various competitions. (b) The Panorama Management Committee will not hold itself responsible for the payment of any transport unless approval is first given by the Panorama Management Committee before the particular show. (c) Claims for transportation must reach the Office of Pan Trinbago on or before February 28. 1990. in order that payment may be effected (subject to the correctness of claims). 12. POINTS TO BE AWARDED. Points will be award as follows: P.9ln1£ Interpretation 20 Arrangement 40 Quality of sound (tone) 15 Rhythm 10 Phrasing 15 78 The Rules which were prepared by the Panorama Management Committee must be strictly adhered to, and the Panoranla Management Committee reserves the right to decide on any matter on which these Rules may be silent. Steelbands not observing these rules shall be subject to disqualification in the sole unfettered discretion of the Panorama Committee. 1, ...... for and on behalf of the ...... Steel Orchestra. do hereby declare and confirm that I have read and fully understood the foregoing Rules and on behalf of myself and the other members of the said Steelband Orchestra. do hereby agree to observe and abide by the said Rules. FOR AND ON BEHALF OF STEEL ORCHESTRA (1990 Panorama rules are courtesy of Pan Trinbago) 79 TABLE 4 Preliminaries Januarv 22. 1989 Sixteen bands are selected from the Prelims (those bands above the dotted line) to participate in the Semi-fmal competition. In the event of a tie in the last qualifying position, both bands qualify for the next round. Bands that went on to semi-finals on February 2, 1989. Nl!m~ Qf St~~1 Band zQn~ ~~Qr~ ~Ia~ Renegades N 267.5 1 Invaders N 260 2 Vat Fonclaire S 258 3 Phase II N 253 4 Pandemonium N 252 5 Tokyo N 252 5 Cordettes E 250 6 Angel Harps E 250 6 Pamberi E 248 7 Potential Symphony E 246 8 Deltones S 246 8 Me rrytones N 245 9 Solo Hannonites E 245 9 Panasonic Connections S 244.5 10 Exodus E 244 11 Kalomo Kings S 243 12 Desperados N 243 12 (these bands will not participate in Semi-fmals) W.LT.C.O. All Stars N 242 Starlift N 242 Nu Tones E 241 Antillean All Stars S 240 Simple Song E 237 T &TEC Motown S 236 Tropical Angel Harps C 235 Trintoc Sun Valley S 234.5 T&TEC Ea<;t Side Tob 229 Our Boys Tob 227 Mello Harps Tob 224 Carib Dixieland Tob 222 Trintoc Tobago All Stars Tob 219 West Side Tob 216 Redemption Sound Setters Tob 194 Western Serenaders Tob 167 80 Preliminaries February 10,11.13, 1990 Twenty bands are selected from the Prelims (those bands above the dotted line) to participate in the Semi-fmal competition. In the event of a tie in the last qualifying position; both bands qualify for the next round. Name of Steel Band zone score place WITCO Desperados N 458 1 Phase 2 Pan Groove N 452 2 AMOCO Renegades N 450 3 Fernandes Vat 19 Fonclaire S 445 4 Fertin Pandemonium N 435 5 Exodus E 431 6 Merrytones N 427 7 Trintopec Deltones S 427 7 Casablanca N 421 8 Trintoc Invaders N 417 9 Dunlop Tornadoes S 417 9 East Side Tob. 417 9 Carib Tokyo N 417 9 Sangre Grande Cordettes E 416 10 Pamberi E 412 11 Solo Harrnonites E 409 12 Simple Song E 407 13 Hatters S 407 13 Kalomo Kings S 404 14 Potential Symphony E 404 14 Arima Golden Symphony E 402 15 (these bands will not p Preliminaries Febru~ry 10.11.13 1990 (continued) Name of Steel Band zone score TrEC Power Stars N 354 All Stars Tob 353 West Side Tob 349 Valley Harps N 349 Nutones E 346 Jay Tones E 345 Moods E 339 Laventille Sound Specialists N 339 Hillside Symphony S 338 Claytones C 330 Sound Setters Tob 330 Players Symphony N 327 Our Boys Tob 326 Moruga Sun Valley S 325 Blue Diamonds N 323 Sforzata E 323 West Coast Boystown N 321 Belmont Fifth Dimension N 295 Mt. Moriah Pan Movement S ? Pan Symphony E not judged EI Dorado New World Symphony E no showed 82 TABLE 5 North/East Zonal Finals January 27, 1989 Name of Steel Band zone score place Phase n N 269 1 Pandemonium N 266.5 2 Desperados N 261 3 Potential Symphony E 259 4 Tokyo N 257 5 Invaders N 256 6 Cordettes E 254 7 Harmonites E 253 8 Renegades N 252 Angles Harps E 250 Neal & Massy All Stars N 249 Pamberi E 249 Exodus E 247 Starlift N 245 Merrytones N 242 Nutones E 242 Simple Song E 238 South/Central Zonal Finals 1989 Name of Steel Band score place Fonclaire 266.5 I Panasonic Connection 260 2 Kalol:'v Kings 258 3 Antillean All Stars 247 4 Deltones 244 5 Motown 240 6 Sun Valley 228.5 7 Angel Harps 226 8 Tobago Zonal Finals 1989 Name of Steel Band score East Side New Dimension Our Boys Mello Harps Dixieland Tobago All Stars West Side Redemption Sound Setters Western Serenaders 83 lS2rlhlEa5l Zonal Final5 F~bruarI 1 ~I 1220 Nmn~ Qf St~~l Band zQn~ ~~Q~ 121i!~ Renegades N 275 1 Phase n N 273 2 Desperados N 272 3 Cordettes E 268 4 Exodus E 265 5 Potential Symphony E 263 6 Solo Harmonites E 261 7 Invaders N 260 8 Pandemonium N 260 8 SQulh/C~niri!i ZQnal Final5 F~bruarI 181 1990 Nam~ Qf Sl~~1 Band zQn~ ~~Qr~ 121!!ce Vat Fonclaire S 274 1 Deltones S 264 2 Tornadoes S 264 2 Hatters S 259 3 Kalomo Kings S 246 4 Connections S 243 5 TrEC Motown S 242 6 Antillean All Stars S 232 7 84 TABLE 6 Semi-Finals February 2. 1989 Eleven bands are selected from the Semi-fmals (those bands above the dotted line) to participate in the Final competition. In the event of a tie in the last qualifying position, both bands qualify for the next round. Name of St~el Bmul zQn~ SkQr~ 12la~ Fonclaire S 460.5 1 Renegades N 455.5 2 Pandemonium N 451 3 Tokyo N 439 4 Desperadoes N 437.5 5 Invaders N 436 6 Hannonites E 431 7 Pannasonic Connections S 431 7 Pamberi E 424.5 8 Cordettes E 422.5 9 Potential Symphony E 421 10 (these bands will not participate in Finals) Deltones S 420 Exodus E 417 ~errytones N 409 Angel Harps E 408 Kalomo Kings S 402 *Phase II did not have to participate; they were the defending champs. 85 Semi-Finals February 21. 1990 Eleven bands are selected from the Semi-fInals (those bands above the dotted line) to participate in the Final competition. In the event of a tie in the last qualifying position, both bands qualify for the next round. Ni!m~ Qf St~~l BlID!! zQn~ - s~Qr~ 1!1~~ Fonclaire S 459 1 Phase II N 436 5 Exodus E 433 6 Solo Harmonites E 431.5 7 (these bar.ds will not participate in Finals) Invaders N 421 11 Casablanca N 419 Hatters SIC 408 Potential Symphony E 405 Golden Symphony E 399 Simple Song E 390 Semi-Finals February 22. 1990 Name Qf Steel Band ZQne sCQre 1!lace Desperados N 443 2 Pandemonium N 442 3 Deltones S 438 4 Cordettes E 429 8 T&TEC E. Side Dimensions Tob 427 9 Tornadoes S 427 9 ~e~ones N 426 10 (these bands will not participate in Finals) Kalomo Kings S 403 Pamberi E 421 Tokyo N 421 * A~OCO Renegades did not have to participate; they were the defending champs. 86 TABLE 7 Finals February 4. 1989 Name of Steel Band zone score tune 1. Renegades N 464 Somebody 2. Phase II N 461.5 Fire 2. Fonclaire S 461.5 Fire 4. Despers N 458 Somebody 5. Pamberi E 454 Posse 6. Pandemonium N 447 Somebody 7. Invaders N 444 Life's Too Short 7. Tokyo N 444 Carnival Fuh Woman 9. Panasonic Connection S 438 Somebody 10. Solo Harmonites E 435 Somebody 11. Potential Symphony E ? Nani 'wme 12. Cordettes E ? Toronto Mas Finals February 24, 1990 ~N~am~e~o~f~St~e~el~R~a~n~rl ______~z~o~n~e __ s~c~or~e~ru~n=e 1. Renegades N 472 Iron Man 2. Fonclaire S 469.5 Pan By Storm 3. Phase II N 458.5 Break Down 4. Desperados N 452 No No We EDt Going Home 5.Merrytones N 449 Nah Do Dat 6. Cordettes E 446.5 Nah Do Dat 7. Deltones S 442 Iron Man 8. Solo Harmonites E 440.5 Iron Man 9. Exodus E 439.5 Poom Poom 10. Pandemonium N 438 Iron Man 10. T &TEC East Side T 438 No No We Ent Going Home Dimensions II. Tornadoes S 432 Pan By Storm 87 APPENDIX A PREFACE TO SCORE "Life's Too Shon" is a ten minute original composition for steel band. Composed for Wood brook's Trintoc Invaders Steel Band by Ray Holman in January 1989. it placed 7th in the 1989 Panorama Steel Band Competition. This conventional steel band consisted of one hundred members divided into nine families of instruments: single tenors. double tenors. double seconds, double guitars. triple cellos. quadrophonics, four pans. tenor basses, basses. and a rhythm section. This score provides all of the essential parts. In the original composition. many instruments doubled other families of instruments. For example, about half of the double seconds weaved in and out of the quad part by taking the quad part up an octave when necessary. There are other examples of instrumental doublings which are listed on the next page. This score has been arranged to work for a smaller steel band by taking into consideration that most American steel bands do not have the nine families of instruments used in Trinidad. None of the origin.!l sonorities, melodic lines. or rhythmic sections have been altered. This smaller version allows for a full sounding orchestration without sacrificing the integrity of the piece. This transcription of "Life's Too Shon" was first performed in the United States in the fall of 1989 by the University of Arizona Steel Band directed by Jeannine Remy. The U of A Steel Band became the first college group to ever perform a complete authentic Trinidadian Panorama composition from beginning to end. Explanation of strummin~ patterns When two stemless noteheads appear in a bar. those notes are to be piayed together as double stops in the rhythm of the strum pattern indicated at the beginning of the piece. Each sla<;h represents one beat of the bar. 88 The families and functions of instruments from high to low and the personnel in the 1989 Trintoc Invaders Steel Band 1. Tenors a. Lead melody b. 35 players c. Stave 1 of score 2. Double Tenors a. Usually double the melody an octave lower b. 10 players c. Stave 2 of score 3. Double Seconds a. Split duties between tenors and guitars b. 10 players c. Stave 3 of score 4. Double Guitars a. Support the cello and the double seconds b. 6 players c. Staves 3 and 5 5. QU Life's Too Short for Steel Band Composed by Ray Holman Transcribed by Jeannine Remy © 1990 90 Copyright This score of "Life Too Shon" © 1990 was arranged and produced by Jeannine Remy and composed and supervised by Ray Holman. All rights are reserved. Permission for reproduction is obtainable solely through composer and arranger. Ray Holman Jeannine Remy Ray Holman 4306 Gitche Gurnee Road 26 Hunter Street Sturgeon Bay, Wisconsin Wood brook, pon-of-Spain U.S.A. Trinidad & Tobago W.I. 1-414-743-5875 1-809-622-7243 91 LIFE'S TOO SHORT Ray Holman Intro J Transcribed by Jeannine Remy 1 ( .. 120) 2 > > 3 /I .. ~ .. ~ Tenor '" > J\ --n ~ Double Tenor '" ***-** ...,. '. > 'f' ** *J** - * 1\ Strum:z,m Double Second , • • • Strum= ffl S ' Quadro pbonic ...... Suum:z:tm Cello - ~ ...... ~ ~ -~ ~ I -~ Bass - ... - ~ -- - ...... , 4 > s 6 1\ . ~ ~ U Tenor - '" =--- ~- - - J\ Il: ~ - -- - Double - Tenor .... - I' > =--- ~- - '"1\ - Double Second '" • 1~1~~- * : .. • " . ~ e ~ • Quadro phonic .. • .~ Cello I Bass -- - I . el990 Ray Holman, transcribed by Jeannine Remy 92 2 7 div 8 ,t ~~ ~ W.. ~ ~ ~ ~ ". b~ Tenor . · ' --. " e) ~ l ~ ..... /\ ,...., j. Double - ...... Tenor - . e) ~" •• " > -.-.J. r /\ ~., .A Double Second . . tJl' R. •. > ., ~~ ' ~ ~" R q R -R*P~ .. , • -· '·· > .. b.. h... >f!,.. .. ~ .... ~.> ~ IH~ b~ H~1,~ H~ .. Quadro phonic - .. b.. h. ~ .. ~ H~ b~ H~ Cello 117. .. Bass . 10/\ ~~~ ~~ .11 I. .11 .h>;h .. 1. .L 'b-H ,b~~ ll~. ~ • Tenor - e) - ~ /\ ~ Double Tenor - e) > > > • "--,/*~ • /I ~ Double Second - e) ~. > - r- -,/ .. -.J. -,j -:J. • > h& & .~ Quadro • . phonic - ~- .. • Cello I I ,. nas.~ 93 3 Verse 12 i\ ~ 13 I ~ "':--. ,.- --... Tenor · -- tJ - .. Double i\ ... Tenor · . --.:r 7* -*_** - * ]'V- "- i\ Do·,t>/e · ·'>econd · --.:r ~ ~~ S bs Quadro . · phonic · .> H__ ~.~~ ~ Cello · > • > : · - - -- '-J H· ~ 14 IS 16. ~ :: e Tenor . - ~ .. ~ ~ ~ ""'"'-' ....Ii. ~ r::-,...." ~ Double - Tenor · . tJ • • -- ." '-=-' ~ > . --- ==-- i\ --- Double Second ~ • 'II' .. • 'II' .. S .. .. Quadro • ! • .... phonic . resume original strum Cello - -- ~ ~ ~ . - ...... ,. . I I I 94 4 17 18 > Tenor 'I . .. tJ 1 ~ ...... 1 Double /\ L --. ~ l Tenor : .J -~- .. > "'II. ""'II /\ -'.. Double S~C'l!!1 ., ., ., .J R- HS .~ fL • Quadro • 1 phonic : - __ ~L Cello - - : .1 -- ~ nass : ~ ...... 20 12 21 Chorus 22 "/\ , ~ Tenor - - --8-T .J ..... 1 J ...... - - - -~ /\ . nd: En .... Double - -- Tenor .) .... -"'II J ...... - - ~ - /\ Double ~ Second ., .J ' _ "it "it .... - - 11f." -}' "OR·" ... .. R· ... Quodro .~ fL. Jl • ,~H~ phonic - - -~ ~ ~S Cello •• fL. J .~H~ : - - -- naS.~ ~ 0 1 ., 1 95 5 24 25 >. 23/\ I. .... 10. ..- .... b.-;:"· Ttnor ---· · - tJ - ~--;iiii""" /I ... ,...... > ~ Double - Tenor · : -. · · .J '-' , -'. 'V . .~-... /I " Double . . - ~ . Seronll ~ , - .~ to ··H••. ' ••'ns ... .. > . •••• • .... fIt- ...... -.. •• bs ~ Quadro phonic • .-...... It . ~ I. • - Cello -- -~~ ---..- -= '"""iI I ~ .- .- nass . - I . I ~ -.. -. 27 ~ 1:: .11 ¥ ---. ,. Tenor ... . · .l" : ~ f!!. D D I "m - ...... · tJ -~~ I """""iI ...... ::I . ~ ~ ~ -~ P""""'! ~ Double · . -- Tenor · . tJ > -R* *4JJJ* * ~ /I ~ Douhle ; Second • -•. "'-"{-..J7fJY tJ > jjjjjj H* • ~ -.- ...... /1,\s tiS ... > ; . > > » Quadro • - phonic ~ ..-- lll). - .. > ;. > > - » Cello -- ~I ~ ---- .- I .~, *' * I - ...... 96 6 29 30 31 > > /\ 2.~ ~ _I L i _L >.' IL.L II> L I.. ! • .:~ Tenor . : . '" /\ ~ ~ -... c::n ~,...... "" DOI.ble : . - Tenor , '" > > > > > J\ ~I _._-> > Double : Second , , ,,' iMiI-I '" .. 'l> 1> '> ~~ S I t" t" ~ ~ ~ ~-~* bs Quadra phonic .. t"t" t"~** ~~ r.# t" .. Cello Bass .... ~ ~ """-I It .. '-J 32 > > > > 33 34> > L/\ ~ •• t"• 1*. ~ .5 Tenor -- '" ~> > > J\ > .-o"'!! ~ Double - - - - Tenor - t > > > > ~ .: _/\ Double ---...... -! Second > > > > ~ >.7IP. • '" S ~ >...-.. .• ~ Quadro : ..* phonic • • .. .• * >,-...• * • Cello - Ras.~ I I I 97 7 3S > '/\ ., .-o"'!! > > """-.~..u' - ., Tenor ~> >~ > '" »»> /\ ~ .-o"'!! > - r-l:::= ~ Double hf-.. '-. t· Tenor : ~> >~ f' t:::::t:t:::l 'JI* -'JIo > >'> » '" > > 1\ """"""'-!~ ...... Double Second > --rJ-;J. > > ;: ...... ;: ...... -rJ* ..'JIo > > ;."';:;: '" : > > S ~ »> » QU:Jdro • H~ fL~ f!~ fL~-~f!~ ~~ fL~o phonic 0 ~~ fL • 0 • Cello 0 ...... ~- nass ,I ~ 0 0 ~ - 1""",1;;1 -- 38 39> > > '1fI"", > > J\ 0 '...... ~ r Tenor 0 0 - f--fA.l .. +-1- - '" - - 1::::1:::::= > - - Double /\ r-"::1 ~ ~~ ~ Tenor 0 "" 0 0 - - . tJ > '.> -. ;:. > > - "> > > > Double /\ 0 "" -- Second . - - '" "OR·'" > '*> '.~;:~'> ;:"R~~" > > >>- s Quadro S - ti~ I phonic 0 . • • ...... Cello 0 na.t;.<; ~ 0 - I - 7 I I .. 98 8 41"". _ 4:;".b. .• > _ .~ .~. 4~~p .> > > Tenor ~~ - c:t:t::j ~ '" Js Double " ---.-. - .....- - ~- Tenor - '" ., --=:t::l ~ ~ :"- > > F:'" ~. :!*. ~.. > > A ---.-. - .....- .... Double Scmnd ~ .*rj ~-;"i# > > > > :: ...... -.... '" > > S I: b~ qq~ Quadro : ~b. ••• . ~~ . phonic ...... , , Cello ~. ~ I.. ~~ ~ : ...... - ,. ,. - Bass I ...... ,.,.,oJ """'" - .. , I I .. .. " 4# 44 > > 45> > > 46 Tra~s I » Tenor ••••-. ta •••••- .... • ·0 ••••• . • " - : . '" -- Double i\ Tenor 1"0 ,.,...., - - : -; - > - > - > > > 4# > - >'; Double '"i\ Second ~4# > ;::.. 4#4#4# .'; ,; > ; .... •J.Ji-.J -.J > 4# -.J i1 - Quadro '" > phonic I I: > > > » .I ~. -- : ~ Cello > >-- >- » • ;. . : ~ I --I : : I -- -- I ~ 99 9 47 48 49 i\ .~.~. ~~~ ...... loI .. .-~ Tenor tJ i\ - - -- - I Double Tenor tJ 'it ...... -1fT --. "...,. "-' ~ Double ...... ,. ,. Second tJ .. R" • .. -p- ~ ~S ~ HS Quadro • phonic .. .. Cello • Bass , T I -...;jI , , 51 52 so.~ > ;. ..~ .. ~ T~nor tJ -- ~ ~ -~ """"iI ~ I > Double - Tenor tJ ..~~ ~jJfi ii - .. I ...... ** ~ jJfi - ~ Double - Second tJ .•-.J. -*~~jJfi ii "". ! ~...... ** ~ -fi .. Quadro : HI lb. phonic • • .. . .. .. ~. .. Ba.~ I ~ -, , I ~ 100 10 53 > 54 55 'A ...... -.... ~ . Tenor ...... --..;;j '" ...... c;;;;r ~ c:t:::S" A > r"":Il ~ C""'!! Double .. Tenor - . '" '~ .. I I:,..oi"t::==:::t:::j A ~ r"":I ~ C""'!! Double Second .. ,~" '" . R* ! c;;;;rt::==:::t:::j : ~S !bt : HS Quadro • phonic .. H. .. H. : - , , I -...;; T T 56 57 58 1\ • • • .. Tenor ... eJ --- II ~ ~ ~ ...... Oouble : - Tenor '" c,...- t:::I c::t::t= 1\ r"""'::! I ~I ~ Oouhle - Second '" ~t::t:Ic::t::t= b. : HS • Quadro • • phonic • • H. • Cello : : .. }. , , I - I ...... 101 11 Var . 2 on Verse 60 ] 59/1. .. ,...... "", .- 61b~"!. ~ ] Tenor .. .. '" ",-j~ ~~ ~ I I I I I ~ r--- 1 1 .-.-. Double - Tenor · '" ..... ]---' ~ 'l:.J.-I J ] . ~ I I I I I Doublt Second '" ..... ]---' • • \,~ ~ ;-~-; - ~~-:--..,""'- -...... fL Quadro phonic .~ h. -]~ - ~!-:--,..,"- --... fI- Cello · I I I I '""I . I I I I l . 8ass - J · -. 62 63 , 64 .~ J ...-.. • , ... ~-.' - • Tenor . -.I ~- - ~ ;....: I.-.:: :,.:"';; ] , II. ~ .. ~ Double . Tenor ...... -~-r '" ~~~ -- --...... :- ~ Double Second '" ." ." • ." ." ;:.-~ \ ~ Quadro • - phonic ~ ~ . """" 1 ~ r~ .. - Ctllo --- -...::I ~ 1 ...... I I I I , 102 12 67 65/1 ~. ,..-"... ~~,. ,..~ ~ 66 » > »>,»> > Tenor : ~ ...... ,- ~ I:-Iooi ---- 1'-:3 ,...... ~~ Double ~ Tenor : , » > ~';:'>~~ 1\ Double S«ond ~ .... ~~ ~\Y';';! ~.;:>:> - .It - • Quadro : phonic ~ -- - t1 • Cello - - ---.. - Bass : - · .. """""" - 68 Var 2 on glOrus 70 1\ - ~ »» ... Tenor -. t::I=i" ~ " -...... , - 1\ ~ Double Tenor ~ ...r.; .".;Ii. !> »» ~~ 1\ Double S«ond ...... -.hhJ iJ iJ ...... ' ... 'rf .. -,J-rhJ iJ jJ jJjJjJ .:;--,., Quadro • - .. - phonic : ...... , t:J"""'~ • - .. -~o Cello ...... , ~~ .... ~ Ra.o;s : - --::t;- , ~ ~ ...... 103 13 72L> »» 73 71Jt .~ ~~~~~ II Tenor ....-. - '" V" L-C ~ ~ /I Double ,...... - -,...... , - Tenor r:w--:- V"'I-CI~~ . "::::~~~ .. .._ . .-- »»> '"A Double -- Second ~ »»> " ...... -- '" ...... »»>" •• **-~ • • h• • ,...~_.,. L oJ b~~. • ~~. Quadro - phonic - ... -...... ;j '"""" 01 . 01 .• • b•• .,.-.,._.,. b~~. I. • .~~ . Cello - --..01 ...- -- ,...... nass . • -. I I \V r r Tenor Double Tenor Double Second • .. Quadro • phonic Cello 104 14 77 78 79 t\ > Tenor - tJ - t\ > > > Double - Tenor tJ ~~ E;..;j Q.I t::t::lU Ut:1.J ~ ...... ~~ i\ Double Second tl R: ...... -7" -_ ... > ...... -.~ • ;; Quadro • phonic ~ > - .... .-.~, ;; - Cello • ~ --.,;jJ - ~ ~ nass .' • r --.,;jJ ...... 80 81 81 -/\ > - Tener tJ - A > > > Double ~,.,.~ Tenor tJ Ct±::IU Ut::::1..J ~~ ~~ ~W !:...... :2 t::::1..J i\ Double Second It;;" " · 7·"·---- > ~~~~ ~-m •••••• Qu~dro • .~ ~ oI~ ,,~-«~ phonic """" . --.. > > > > » » > > » .. -...... ;; ..... • . •• oI.~...... Cello """" --.;;j nass -· -- 105 IS 83 84 85 '/\ > "'· __~L ~ Tenor - tJ - ,...... ,. j. /\ > ~ ~ ~ Double - Tenor .J t::::==I '--' --- ~ /\ Double _. - _. Second .J R! •••• • - -.------~ ••••• O/._",-~--. _____ ~~L~. Quadro -- phonic ~ ~ •••• ___ O/ __~ ____ ~..L ______~ Cello ~ • .-. Bas.~ : ~ - 86-Ii 87 88 > > ~. .-. ~ Jl.J!.. -"'J!.. Tenor .J /\ r-::J ,...... I ~~ J ~ -""- Double • - : Tenor - - t > > /I Double --: - - __OJ - Second - tJ ... > > .. ".~ .~.. > > Quadro phonic ~ _f'-.~ ___"JL. > > Cello -- ~ > > -- .. ~. ~ - 106 16 90 Var 3 on Verse 91 It. 89/\ ~ >:. ~ • .-:>:.. ~ ... ~ l . Tenor - - : - ~ ~ --- . "/\ I Double Tenor - - - - > > > > ...... ---.~- .,,; ~ ,~~ t:t,-----,,_ '" A I Double - - - - Second .,,; > > > > ...... ,., ...... ~"R'~~'-----""~ ~ " > > > > .. .- .. YfCfLII-. r• Quadro phonic .... - > > > > .. .- .. fLf'- fCf'-f'- • 1'-• It. Cello """'-'" .... - > > > > ~ ~ Dass : - - -~ v 93 94 92/\ I ...fI. ... --:-- ~ ...- ..fL~ Tenor -J ;../ - ,. - - "-.:::I - I~ /\ I ~ ~ Double """'" -~ Tenor - ...:...... / '" -.. -... - /\ I resume oril!inal strum Double Second -...... _.. .-... -. " Ilb): ...... >- ..... #"'..... Quadro • phonic ,,. • .. .. >- ...... - ..... Cello , Dass . -- 107 17 95/\ .1\.\_ 96> > n~ I~ .... - .~ ~\")r"". .> Tenor e) _ c:::::r-, - ~ > > > > Double " 1 Tenor " ~ - - " 1 Double Second '" • ~! > I~l!' ~ >:-.~ ilH~""A~> > > > >- Quadro phonic >-:---'.1" ~H~>.~-fIl.l~> > > > > - Cello > > > > - Bass I 98 II. II. 1~ Var 3 on C'3!>rus '" , ... ~ '" ~' •• II. > > Tenor : tJ ~ I' J ~~ ...... ~ II. II. II. II. II. II. II. II. ~~11=1~ " 1 • Double - . :;;hl-.l-J. Tenor r I' J tJ y ~ > --- -> ->- -> /\ I ~ ... Double - : .- Second tJ v v v v v ~: ~ I' J v : V ! ~.-.. -: .~-..! ~~ .1 f'I.).. ~ : Quadro phonic - ~~ .1. fI,) • Cello 1 ~ Bass - : J -tt~i1" .. J - 108 18 101 > 103 > > Tenor Double Tenor Double Second .. . : .. Quadro phonic Cello Bass Tenor Double Tenor Double Second Quadro phonic > Cello Ba.~~ 109 19 7 109 1Oj, , >- .l"'oo. > r--.... ,...... ,,> L Tenor : ., c::::;;;;IOiI ~ ~ ~I ~, i\ > ..... > ,...... ,."" > ...... > -> Double Tenor : ., ~, ~I ~ ~ ~ i\ , ~> Double ,. Second .., .. ~, .. > Quadro • • phonic ~ • •• JI... ••• >- - Cello : .~ Da~ : .. .. > Interlude 1 110 > > > 111 I. •••••••••> > > > > - > > 112,. Tenor " : .., /I , I:.I::l:::I ~ ~ ~-~ , -~ Double : Tenor ., > > > » > > > >t; -.... /I , - Double .., .. 9" Second > > > >;t ~,. .... ~ "~--::tr! b.. • • h. b. Quadro phonic ,b.. • • h. b. Cello ~~ ~ 1 - - -::1 :t:::::: , .. .. 110 20 11~ , 114 L:: ___ :: • ~~_:;.> > liS > > > > > . ~ L Tenor -.:r ~f 1'1 I L I.~ ••• ~ • ~~. ~ > ~ Double -- Tenor -J ~ ~~ , > > > >'1;; 1'1 I ,.... - Double Second ...... " > > > - >~ ~ • ... .: .. ~J" ::lf1: .. .. ba...... I.. Quadro phonic • .. ba. .. .. I.. Cello -~ nass - .. I .. .. " I > > »> 118 Var 4 on verse I J~ ,11\. 11.11- ... ~~!II-!II- a. !II- ;;; . Tenor : - V I ....;; ~ ~ , /,\ ..b I ,...... ~I Double : Tenor eJ -..." > > > > » 1'1 , Double : \~J ~. .... Second .. .: >.: !!---. > »> ..-. .. " (1.\. ~ ~. ~~.~ ~~ - fLfL fL-fLfL • : ... .. Quadro phonic . (1.\. ~ ~. !-. ~ ::~ ...- .. fL fL fL-(I. (I. • Cell" nas.~ , > > > »> .. .. III 21 119 120 _L1L • v~ .. . • • Tennr '" I eJ ,., .. il .1. ~ Double . Tenor tT ., " ~ - Double Second ., ., tT ·R* ~-wI7¥*" ~ i H. ~)-... • Quadro phonic • • Cello - .. I I nas.~ . 121 > > fl.> > > Tenor ,L;r g F J ~ 04- E I@~I I -~ 6E~e~ " I - ...... Douhle -- - Tenor tT > > > > > > .~ > > - > ,., Douhle -t} -.-: -.-.-~~: Second > > ~ ~ ~ .! -. !---•• ! .' > > > ...... =: : • Quatlrll -- phonic - > > ...... =: Cello 1 > > > nas.~ • 112 22 12 1. 125 12~ I ~ oiioi.-. > >- » Tenor - tJ > -...::I> > > - ~ -- A L ~ ~ j. Double Tenor tJ > -...::I ~ "~-"~ -- > > ~ .A I Double Second tJ ~ ...... *Ii! ~.:#! t:; > - R-' SUS --" " --". > >-» "~I"J. ,,~ .. ~~.... ~ .. ~ I ~a. ,,~ .. ~-.... ! ~ Cello .. . : I > > > nass - : I ~l 126 127 128 (Interlude 2) A I . ~ .. .-.- Tenor -- .t- tJ ...... - I > > A I ~ .. .~ Double .-.- Tenor ~ -- t - ...... > > " I Double -.-- Second tJ "-" -~ .. ~. .,;-.,; . ~. ;~ > > ~. ~ ,..-,.. ~ ...... ~ -----.-:--- ;~: ~; Quadro phonic . ~. ~ » » ,..-,.. F~ .. -. ~ --:--. : Cello : ~ 8ass - ...... -y 1 .".",. - » »."'." 113 23 129 :> :> :> :> :> 131" '11 :> c:r-. .:> --=-- Tenor '"' ~ ~ """- - -- :> :> :> :> :> :> 1\ I c:r-. E=h Double Tenor t. ~ ~ """- - -- :>:> V...... , :> :> /I I c:r-. Double Second ~ I...C-- ~ ~ ..:> *'>-- :>:> :>... - :.::-~!~ '"' :>:> :>:> :>:> :> :> :> ;~.; ~: ••= • = • ;: ; ;...;; ... .-., ..•.. -• Quadro phonic :>:> :>:> :>:> :> :> :> :> :> :> :> :> :>:> ~ - Cello ...... ' ...... - ..... _..... _ ...... :>:> :>:> :>:> :> :> :> :> :>:> :>:> :>:> 132 1\ :> :>:> . :>:> :>:> :> :> :> Tenor '"' /I I Double Tenor '"' :> ">:> :> :> :>:> :>:> :> :> :> :> /I I Douhle Second '"' ~ ~ ~: :~ :~ ~~ ::: ::: :> :> :>:> :>:> :>:> :> :>:> :> ~~ ; ";.,; t t tt tt .-tt .-tt Quadro phonic :> :> :> :> :> :> :>:> :>:> :>:> :> :>:> :> Cd'o ...... :> :> :>:> :> :> :>:> :>:> :>:> :> :>:> :> 114 24 135 > > --..,.., > » 137 Var. 4 on Chorus A L > > > - Tenor : , ...... '" 1\ L .t\ ~.b Double Tenor > > > > > > »> » .. .- '",., 1 Double '-15k--P-. Second · :~~ ~~ ~~~ ~~* ~ ~.*..P " ;;...> > » > > » ;;; ttt tt. .-.... '-- Quadro. • phonic · » > » > » > >- » Cello • · Dass I ...... ,-- ... » > ».... >.. ».... >.. > > .. > .. 138 139 140;. ;; 1> > ~!>. > > ~~ > Tennr , I000o' '" ""-1...:2 ~ ~ ~- i\ 1> > ~ t\ ~ ~J: ~~ > > > [)nuble Tenor .. .. - " ""-1...:2 ~ » > > ~~ 1\ L .-o"!! ~ Double Second '" : .." • q.. *q'* 7.7·'" ;: ....> 'l> > > ~. Ih ... t q:eHC~J~ Quadrn· • .. • 01.01.:: phonic • • • oI=;; 01. >~~ u> .b~::~:~ Cello 1 ~ .. .. I 115 25 > > 142 14h L b•• ~ .. \';-#.. ~-# :-. - 14~ > » Tenor tI t:,...ICJ __ I /I 1 I'!""'!~ [;ouble . Tenor tJ >~ >~ .... ;....,. . .~ . '> »> /I L Double -- Second tI >- >- ...... ;....,. .. .. ~~ ~jJ.~. .~4l b.. .. h. ~i:ji: .-tt_*- Quadra • phonic ~b.. h...... H; a:;&: Cello . • • - ..1"'!!""1 ...... Bass I .. .. Trans.3A 144 145 .. 146 Tenor Double Tenor v resume ori ina! strum Double Second Quadra • phonic Cello Bass > > » » » v ----- ~~ - -~-~ ~~ 116 26 14~ I l~ 14~. •• r"J. - - . • b~ n • Tenor '" 1 /I I .. 1. Double . . . Tenor ...... '" V i\ Double - Second • *._** ... '" • ~ • (l,'\: ~ ~ Quadro •••- •••• h~ 'b'\: phonic (l,'\: -• ~'O,~. ~~ (~\: ~ Cello . -"" I Dass 3E ---:;. .. .. I I v .. .. Tenor Double Tenor Double Second Quadm phonic Cello Das.~ v v 117 27 153 »> > > 154 155> > > > > I .. - Tenor " tJ ~. ~ ~ ~ ~ ~ ~ ~ 1\ I Double Tenor tl »> > > > > > > > " L Double Second tl »> > > > > > > > . 0I~ .!: .,!:!: ~ he (1..' • Quadra phonic 0I~ 0I~ 0I~~ ~ I.e (1.'- Cello • .-""'I I Bass • • I I .... --... > 157 158 156 > > > > lJ> .--J~~.,...... :.:' '/\ I . . • . Tenor tl J ::...: i A I ---= I I I I Double Tenor tJ . -J-..I > > > > > > I resume oril!inaJ slrum n.ublt Second " tl '-- J ~.:::: ~ :~ 01; oJ~; =~ '~e~' I Qu!ldro· fI.'_ . ;-:! --:--" *. phonic '"""'"' ~ oJ= oJ~ oJ~~ ~ he IfI.'_ .. ' :-.:!. --:--" *. Cello '"""'"' [jI"'" .-""'I .- I ~ .. '"""-I -.-;J -lii"""" 118 28 159 r--- J ----. ,,-.....160 i\ I • • • "- Tenor e) - A I I I I I .1M Double Tenor e) --- j----'- > > > ~ i\ L resume oriltinaJ stmm .A Double Second e) ~J-':;- ~.. > > > """'-ol • • ;-~-:.- . ~. ~ ~ ~.~-~. Quadra ' phonic --...;;;j ~ ;-~--.-- ,~ ~. ~ !.~~. .~ ! Cello · - ~ -""""" Bass I ~. - ---. .. ~ --...;;;j ~ »> .. 16 163> > > 1104;. » I > > > Tenor ••• I , - i\ L » -~ _r-1 r::; > >~~ Doublt .-... - Tenor .. W> II -I II .... »> ""'"-=I W> II -. .... A I .At Doublt Stcond e) ~~~. " .. -.t.;J »> ---.:s ~ ~~. " .. ~ > » !! !.~-~. > » , Quadro . phonic > » ~! !.~-~. > >:>:. Cello ...... Ba.~ »> .. It .. '1-'tt .. »> .. > » "Ii" !i"Ii" 119 29 165 1~ _ :--~--,... 1\ I • • :;-L-'.~ Tenor I-. -eJ ....Itt I I I I I I I I I Doublt Tenor ~ - J---J-= '-- 3 --..:r ....It L re.~ume ori Ilinal strum Doublt :21:: Second IT '--J~- ~ '--32-- • • :-!-:.-r--. *. • • :;-L--,... Quadro phonic - ...... - .. .. :-~-'.-f-.... *. • • :--~--.- Cello ...... - ~ ~ I Bass *. ... ""'" -- ~ Trans.3B II. 168 169~-~ ~ 170 Tenor " - .., ... Ip -===::.~ Double II I Tenor .., -' V V re.~ume original strum Ip -===::. ....Itt Double Second .., .". V"'--' V ... *,. I!! -= Quadro ." ...... -. phonic ..... ~ ~ ~ ~ ..... *- • .. Cello '" ..... - *- ~-~ Bass ..... - ~ ~ 120 30 171 172 173 ~ II I ,.-- Tenor ; · ., -~ .... --...;;;t - 1st and 2nd repeat: /p -=::::: i\ I - "F" alone Double - · Tenor .., .,--". V • /p -c:::: i\ I Double - - Second ., .--.:;' V ...... /p -=::::: • • - a a - a a-a Quadro : · phonic - ~ ...... ~ ~ ~ ~ • • a Cello . · · -"' a-a .~. nass -- · · """""! ...... ~ """" l'iI 175 .. ~ 17~ =:;:;:~ ::- Tenor · .., i i\ I ~ >~J;83~ ~ Double Tenor .., · -..1 • -< ,. > > 6!::b! >iir--- I Double " Second · ~. · ., ..1 * -ij ~ ...._ .. >* .. .. > > > a-a - a - Quadro . - - - - phonic · ~ ~ ~ ...... ~ "i • - - Cello · tr~ a-a nass - - -- .. Lo-"~ · ~ ~ ...... 121 J1 177 12.4. 178 > > > > > > > > > > > > > It I Tenor , " I -- - i\ I ~~ J"'"'~ Double -- Tenor ...... »> » »»> » > " »»> »» > »> A I Double Second ,. ~~ ...... '" iJ .. • • Quadro phonic • • Cello : .--. -1"""'1""" Bass . .-.. -- ...... 179 Is »» »» 180»»»»»»» 181 " l Tenor ...... '" ------.... · '--] ---' i\ I Double Tenor :~:~ :~:~ .. ~] ~ " :~:~:~:~:~:~:! i\ I resume ori....&Lnal strum _ Double Second !~!~ :~:~ :~:~:~:~:>:>:! • '" > > > > > > > ... ~ ...... ~.~. . L ~ ;-l~ Quadm· ... .. phonic ::. ::. ::. ~. ::. :: :: • -'L- -'L- .L ~ Cello . ~]---, I • . ~ • • .~tr---r. Bass > > > > > > > ..... ~ 122 32 18~ 1 183 184 Tenor ~ --.r 7 - ""'- '-- J---' ""'- ~ " 1 -- Double "11 Tenor 11ft ...... --.r .. * ~J~ " I Double -- Second liE: ? .. ~ .. ~ ,. .. • .. • • b-- ~- Quadm ;:q;: -- - phonic _"V -~ '-- J---.I ~ ,...... ~ .. Cello - 7" "" - -- __ Ii"" -- ... '-- 3---.1 8ass 18~ 1 . - 186 18~...... -..> .. >.. Tenor ... ~ V ...... L.:~. L - _ l_ " I Double . .- Tenor -- -., ;;. . " ... -- :- i\ I ~ ro--, ~I I -~ -- - Double ,--' Second tJ ** • •. ....--J* > "1''''- .. > . > L i--. Quadm . - - • phonic ..L. • - L - > !-.. > Celio - -VW~" I I _r--... y ~ > "> > 123 33 > ISS > > > > > 189> > > > > "it L • • .. • • '~ 16- 16- 16- 16- ~ Tenor '" ...... ,...... ,.....,...... ,..... ~ " ... Tenor .. > .. > .. > .. > .. > > > > > '" > > I ~ ~.~~~ Double " Second .J > -> -> -> -> - > > > > > > : h. fL •• • 16- Quadro . • phonic h. 1#'. . ,: J Cr.ll0 •• .l:"~ . - - ".:~ --.. o· -"""' .. . Das.. . - > > > > > All. All. 19~ L .... ~. fL. ~. ~. fL. I9Iqjlll jill' jill jill' 192...... --.-. ...--! Tenor · - .J iO..I iO..I > > > » > ~~~~ r.-1 r.-1 ...... --.-. ...--! _L Double " I - ·jalJ -.I Q- Tenor - · ., > > > > > vv vv > > > - » > '" I .1l .L ~~~~ L Double Second > > > > > > > > - » > '" ~~: ~~: Quadro All. phonic .. ... • h~I ••• II. . • •• ih~ ••~ .~-••~~ ~ - "II. A : .. A Cello . .. .. • ' ...... ' .,=; ••=; .~..... ~~~ - Das.~ .. •• • .. vv vv · > > > » > 124 34 19~ Original V~~ecap l?t ~. ,....--...... ~ 195:: e Tenor tJ - - - 1\ L. ~~ - Double . - ~ Tenor . ...., ...., .~ ...... ,; tJ ***~** \"V * - > 1\ re:;::m: original strum Double Second tJ \"V~ '~ .. 1J ~ resume ongmal strum bs ..• .Y•. Quadro phonic .. resume original strum ~~~~ Cello ~H~ • ~ ... lIas.~ . .. '" tt .. -.....J I I 196 197 198 /I , I ~ I .L Tenor - tJ - ~ 'tJ-"i -...... 1 ...... ~ 1\ ., I P""I"'"":I 1 ~ ~ nnllhlp - Tenor .., ...... , "'-" "--'" 1'"l - ~- Double 1\ Second ,. tJ ~ .. R" S .. ...", tiS Quadro phonic • resume original !rum ~ ~ ~ ~ . • - , lIass tl I ~ 125 35 199 > 200 201 1\ • . Tenor - ...... , tJ ....- I .....- - 11 l . n~. Double - Tenor . . • > -rJ* .-rJ ...... , .- '"i\ .. Double Second ~.r . .:: -"". > -rJ -.J ~~~,~ "OR" ...... '-3-..1 ~ i • __ fL. .-3-' :; Quadro • phonic ...... • 1...• - .i"'_ fL. .- 3 -. .-~• Cello • ...... Bass --.! ...... I • I 202 203 204 7\ > > "7' h•• h.-. • Tenor ~- · . -- c:t::I > > - '" > > 11 .. I ...... Double ~- Tenor -· . - > · ...... ,--- " -- c:t::I > .. 11 Double Second · . .~ ...... R.... l·oR .. ·o '.'.' ... Ii ·i·· - , .. '" > > > > Quadro i"z:u=" ~ .--. • • 01.01 •• ••••••• phonic ~. > > - ~.. --. ~. > • • ...... & Cello - L.....:I ...... -- .A Bass I I • I - 126 36 207 Coda 20~ ,~. 2~-:-,•• 1\\ 1\ Tenor - tJ -...... ~ looooo",t::f~ -1\ > r--...... Double " . Tenor tJ V 'W ~..Jiw ;..:..,;w. '1i·-·~Y ~ ... 1\ .. h. ....-.:I . - Double " : ,...- Second tJ ...... > > ..... ••• R·-· ~ .,---".' bs \d- II- H. .. • ...... , .- Quadro phonic __ I.. L .. a Cello : --c;;;;;;::r ---c;;;;;;:r ~1 - ~-f --""" ~ ..... Ba~ - - ." . I .... I I 2011 209 > > > > "/\ 1\ ~ ',j">,-, >~, ~,:;-a, > • Tenor tJ ~~ - ~ ,~>=:" >:;:, > =:-., >=: Double " - - : Tenor - - ...... tJ V ~ - A rc~ume ori2inal ~lrum Double " : Second - .. ~-~-v> ,; > ,;_ -~ "~'V .. -. > " : re.~ume original suum .. ,. Quadm. • • phonic .- e Cello I ..... , : I I 127 37 1\ i\ > Tenor - : eJ r - 1\ 1\ A ,...... ", ..... > Double Tenor tJ ~»» > > » » V 'f ~ A r---. Double - : Second eJ ;!»» > > > >~ > > "~~ ~ V-- »> » ~> > > > > L•• ; ,,~ Quadro· • phonic ~ ~~ - - 1\ »»> ~> » > > Lt: • Cello ; ". c:::------..::I ~ I Bass . .-", .~ > V - 1\.- --.214"or Tenor " tJ A > 1\- : _ .• w."~_'_·. Douhle - - Tenor .•.. _- ~ 1 ~ A Douhle Second . ....,. tJ .? :! V .... *.J*" :iJ * : , ,.....,...... Quadro· .. phonic . • • -...... ~-~ > .~ iii , ~ .. • Cello • -....;;;j ...... ~-~ - ~~ .. > V - ---.::s 128 38 21~ ...... __ .... - .#6' Tenor - - tJ -- 1\ --- i\ .- Double Tenor -- tT ~.,. .. i\ ~ .- Double - Second -tT V ~.,. .. #6' ~ *'#6' #6' ~ Hj9-' Quadra · - phonic -- - 1\ #6''' ..~ .. #6' t M,.,. Cello · - - -- 1\ ~ Bass . .. · 21~ ... fIL _ .. fI.;~ > =.:.,..---2.J8 ;,"- Tenor --- -J --! -~ i\ ~ Douhle - Tenor J > >-- ':;;'~ i\ ~ Double - Second V cP___ >.. !-- .A ~ b~ r-...-- ~ Quadro phonic -' ....,., . ! ~...-- r-,.,""-- ---~ Cello I - > > V 129 APPENDIX C FORMAL STRUCTURE DOUBLE THEME AND VARIATIONS FORMAL STRUCTURE "LIFE'S TOO SHORT" 'INTRO ~ ®.1-11 U:-:-'>"':":'::~~~...=.u<~~ I TRANSITION 21 ~VARIATION 3(verse) I (m. 76-89) @ (m. 90-99) Bb: \ lVARIATION 3(ChOrus~ I INTERLUDE 11 (VARIATION 4 (verse~ .. (m.lOO-109) (m.l1O-117)· (m.118-127) . I INTERLUDE 2 I mYARIATION 4 (ChOruS' (m. 128-] 36) 1 (m. 137-144) • I TRANSITION 3A(deyelopmentlll IRANSITION 3B (development) , (m. 145-168) (m. 169-192) I ORIGINAL VERSE RECAPI I ORIGINAL CHORUS RECAP I o~ (m. 193-200) (m.201-206) 1 CODA I FINE KEY: verse = theme 1 (m. 207-218) chorus = theme 2 APPENDIX D 130 MELODIC ANALYSIS "LIFE'S TOO SHORT" KEY: Upper pans (UP) = tenors, double tenors, and seconds Lower pans (LP) = quads and cellos Bass = tenor bass 6,8,9,10 bass sets Melodic Fragment 1 = do sol mi do (from verse) Melodic Fragment 2 = sol fi sol (from chorus) Bass ostinato 1 = m. 46-47. Bass ostinato 2 = m. 104-107, 110-113, 114-117. Bass ostinato 3 = m. 145-146. Bass ostinato 4 = m. 157-158. Bass ostinato 5 = m. 169-172. Bass melodic and rhythmic sequence A = m. 100. MELODIC FRAGMENT 1 MELODIC FRAGMENT 2 INTRO (m. 1-11) Melodic fragment I: LP m. 1,3. Melodic fragment 1: UP m. 5,6. Melodic fragment 2: UP and LP m. 7-9. VERSE 1 (m. 12-29) Original verse melody is in the UP. Melodic fragment 1 m. 12. CHORUS t (m.2i-29) Original chorus melody is in the UP. Melodic fragment 2 m. 21. VARIATION 1 (on verse) (m. 30-37) Melodic fragment 1 in LP m. 36. Original melody starts in the LP and alternates with UP. The UP plays an ornamented version of the original verse. UP & LP unite m.36-37 to playa rhythmic variation of the original. Compare m. 36-37 to m. 18-~O. VARIATION 1 (on chorus) (m. 38-45) Melody is in the UP it is an elboration of original chorus melody. Melodic fragment 2 m. 38. The elboration is rhythmical and melodic: where there use to be whole notes there are now running sixteenth notes. Compare m. 13 to m. 39. LP plays almost exactly the same part as they did for originai chorus. 131 VARIATION 1 (on chorus) (m. 38-45) Melody is in the UP it is an elboration of original chorus melody. Melodic fragment 2 m. 38. The elboration is rhythmical and melodic; where there use to be whole notes there are now running sixteenth notes. Compare m. 13 to m. 39. LP plays almost exactly the same part as they did for original chorus. TRANSITION 1 (m. 46-59) Bass has a repeating 2 bar melodic ostinato 1 Melodic fragment 1 in UP m.50-53 Melodic fragment 2 in UP m. 54,56-58. VARIATION 2 (on verse)(m. 60-67) Melody is in the LP in F major Melodic fragment 1 in LP m. 60. Countermelody in UP throughout. Question and answer between LP & UP and bass m. 66-67. VARIATION 2 (on chorus) (m. 68-75) Melody is in the LP in F major. Countermelody ill UP throughout. Melodic fragment 2 in LP m. 68. TRANSITION 2 (m. 76-89) Contrasting melody is in the LP pitted against the UP ostinato One bar ostinato in UP Melodic fragment 2 in UP in augmentation Question answer between in UP & LP and bass m. 84-87. Unison for the first time m. 88-89. Compare melody to m. 18. VARIATION 3 (on verse) (m. 90-99) Continues unison from 88-91. Ouestion and answer between in UP & LP and bass m. 96-97 Melody in both LP and UP in Bb Major. Melodic fragment 1 m. 90. VARIATION 3 (on chorus)(m. 100-109) Melody in UP but in a new sycopated rhythm. Rhythlnic variation on melodic fragment 2 m. 100. Bao;s melodic and rhythmic sequence = A m. 100. 104, 105. Bass ostinato 2 =m. 104-107. * Most Chromatic melodic line m. 103-105. Question and Answer between the UP & LP and bass m. 108-109. * Makes this variation of the chorus the most melodically remote. INTERLUDE 1 (m. 110-117) 132 Bass ostinato 2 = l1O-113, 114-117. Melodic bass extension from m. 104. Melodic variation and extension of fragment 2 in UP m. 112-1l3, 116. VARIATION 4 (on verse) (m. 118-127) Melodic fragment 1 m. 118 in Bb major in LP. * Ornamented variation of verse in UP especially m. 119-120. * Makes this variation of the verse the most melodically remote. INTERLUDE 2 (m. 128-l36) Melodic sequencing up in thirds m. 128-130. The one note melody exchanged rhythmically between bass and tenor m. 133-136 establishing the dominant harmony. VARIATION 4 (on chorus) (m. l37-144) Melodic fragment 2 in UP m. 137. Melodic fragment 2 in UP in rhythmic variation m. 139. Bass melodic and rhythmic sequence A. Compare with m. 100-106. TRANSITION 3A (development) (m. 145-168) Deve!opment of melcdic fr:!gmcr.t 2 in UP in in. 145,147,14~. Bass ostinato 3 =m. 145-146. m. 145-146 is a two bar variation on m. 100-106, 137-143. Development of one note theme m. 153-156. Compare m. 128-136. Bass ostinato 4 =m. 157-158. Variation on melodic fragment 2 on beats 1&2 m. 161-164 all parts. TRANSITION 38 (development) (m. 169-192) Bass ostinato 5 = m. 169-172. This is a four bar ostinato. Bass ostinato 4 in measures 181-182. Compare m. 157-158. First use of dynamics in UP. Melody in UP m. 173,174,177 is not sycopated (straight eighth r.otes) No sign of melodic fragments from the verse or the chorus. The melody is in the bass ostinato. Diminished triad sequence UP m. 188-190. ORIGINAL VERSE RECAP (m. 193-200) Original verse melody is in the UP. Melodic fragment 1 m. 193. ORIGINAL CHORUS RECAP (m. 201-206) Original chorus melody is in the UP. Melodic fragment 2 m. 201, 203. Cut two measures shorter at the end. Missing m. 27-28 from original. CODA (m. 207-218) Variation on Melodic fragment 2 m. 207,208. Melodic fragment 1 in LP m. 214, 215. Whole tone sequence in UP m. 216-217. 133 APPENDIX E MELODIC PREDOMINANCE "LIFE'S TOO SHORT" KEY: upper pans are single tenors, dbl. tenors, dbl. seconds. lower pans are cellos, quads, basses. verse = theme 1 chorus = theme 2 (lower+bass) (upper) (upper) (lower+upper) I INTRO I ~ VERSE l~(CHORUS 9J~VARIATIQN l(verse») ~. 1-11) (m. 12-29) (m.21-29) (m.30-37) . (£) (lower) (upoer+bass) (lower) VARIATION HChOrus») ~TRANSITION l~n:VARIATIQN 2(verse»J ~ (m. 38-45) •• (m. 46-59) . fit® (m. 60-67) . (lower) (lower+bass) (upper+lower) tr:'YARIATION 2(chorusW I TRANSITION 21 I VARIATION 3(versel.l Uf (m. 68-75) J1 (m. 76-89) Q (m. 90-99) ® (upper) (upper+bass) (lower+upper) ~YARIATION 3(Chorus~ J INlERLUDE 11 (VARIATION 4 (verse~ (m. 100-109) . \ffi. 110-117) (m. 118-127) (upper+bass) . IINTERLUDE 21 ~VARIATION 4 (ChOrus)" (m. 128-136) . (m. 137-144) (upper+bass) (bass) TRANSITION 3AldeyelQpment) t I TRANSItION 3B(deveJopment) I (m. 145-168) (m.169-192) (upper) (upper) I ORIGINAL VERSE RECAP II ORIGINAL CHORUS RECAP t (m. 193-200) (m.201-206) @C: (lower+bass) I CODA I FINE (m. 207-218) 134 APPENDIX F COMPLETE HARMONiC ANALYSIS OF "LIFE'S TOO SHORT" (chord chart) INTRO (m. 1-11) ICf/llllllllll I1111 IF/~mi/1 F/D71/G9111! f#OIlIIG{~ IGill/ VERSE 1 (m. 12-20) ~~IIII f~;:lldmi7/G7/ICllifi I dmi7/G71 Jemi7/A71/dmillll IG7 1IJG;&" I CHORUS 1 (m. 21-29) (dmi7/G711 CMaj1 dmi1 emi7 A7/ dmi7/G71/ CMaj1 dmi7 ebOemi1 J r;:--:- ~ Ifmi7 /Bb71/emi7/A 7// dmi7/G7t/CIII]CIII I 25 VARIATION 1 Verse (m. 30-37) [IfCIII J f#OIlI/ D7/GMaj71J Cllamil G9111/emi1/ami7 A'I! dmilll J G7/1ijP 30 35 VARIATION 1 Chorus(m.38-45) tr[dmi7/G7/\ CMaj1dmi7emi1A7/ dmi1/G7(b9)11 ~ 40 ICMaj1dmi7ebOami7 1 fmi 7/B b71 J emi7/AI/ G7(sus 4)/G71/ C61117jJ 45 TRANSITION 1 (m. 46-59) ~ dmi7/G7/1 emi7/AI/ dmi 7/G71 J emi1IAI/ dmi 7/G71/ 50 . Ii, lemi1IA(+9)I/dmi7/G71/emi7/A(+9)I/dmi1/G71/emi1IAI'JI1 Il. 55 IG71111 CIIII (I becomes V in F) =pivot chord modulation VARIATION 2 Verse (m. 60-67) r(. FIlii b011l r gmi7/C7/1Flldmi7 J gmi7/C7/( ami7/D71/ gmi7111/ C711/~ ~ro M 135 VARIATION 2 Chorus (m.68-75) ~ gmi71 C71} FMaj1G7 ami7 07(#9)1 gmi71 C7t! FMaj1Gmi7abOami/ 70 . /bbmi7/E b71/ ami7/D7//gmi7(SUS 4)/C7(sus 4)// P>III )J 75 TRANSITION 2 (m. 76-89) Ip6111/ gmi7II/ IF61111 F6(sus 4)III/F6/11 Jgmi 7/11J p6[C]/I11 80 /gmi7/11 i F6/11/ Bb9/lll F61111 Bb9111/ FIII/IIIII 85 (I becomes V in Bb) = pivot chord modulation VARIATION 3 Verse (m. 90-99) IBblll Ie Ollllcmi7(SUS 4)/F71IBb/gmi7!/cmi 7/F71/ dmi7/G7(#9)1 J W ~ Ig mi71111F7111/ Bblll/F71111 VARIATION 3 Chorus (m. 100-109) ~cmt7/F/1 BbMaj1cmi7dmi7G7/ cmi9/F 131 I 100 IBbMaj1cmi 7(Sus4)C#6dmi I ebmi7/D7(b5)/ /dmi7/07t1cmO/F/J II. 12.. 105 I Bbll/~ Bblll I1111 I INTERLUDE 1 (m. 110-117) IG b6/Ab7/1 dmi7/G7 I I cmi7/F71/BbBbMaj1Bb131IG b6/Ab7 I I 110 I dmi7/G7l/cmi7/F7 I IBblll f 115 VARIATION 4 Verse (m.118-127) ~ Bb(65sUS)1I11 e01l11 cmi7/F71/ BbMaj1l1l/ cmi7/F7 1/ 120 Idmi7(SUS 4)/G7 t/ cmi/C7[O]*I/ F/F(+5)1 I cmi/C7[O]IIF[A]1I11 125 • [ ] brackets indicate bass pedal chords .----- 136 INTERLUDE 2 (m. 128-136) 1~lwl~mlw/wlwlwIMlw! 130 135 VARIATION 4 Chorus (m. 137-144) ~C7 IF7 I I BbMaj1 cmi7 dmi7 07/ C7 IF7 I { Bb6cmi7 C#07 dmi I 140 I ebmi7 IAb7 1/ dmi710 7I I DMaj1EbMaj1FI I EbMaj7 iii)J TRANSITION 3A (m. 145-168) cmi7F7I Idmi7//07( +9)[C#] I cmi7F71/ dmi1//07( +9) [C#] / I 145 ' Icmi7F7 I /dmi1 /l07(+9)[C#] Icmi 7//BbMaj1[F] / dmi(b9sus4)//C#7 J 150 ~gmi7[C]/F1/ dmi7/1C#7/ gmi7[C]/Flldmi7/D 7G71 cmi7/1dmi[C] I 155 /dmi71/1 / cmi7//1 Idmi7/11 /cmi7111 !BbMaj(l3)!/I! emi7//! I 160 iBbMaj(l3)/lI/cmi1/1I/dmi1/1I/cmi1l/l/dmi7/11 I 165 TRANSITION 3B (m. 169-192) ~cmi1(SUS 4)/11 1/1/1 , Bb6/11 I /I/I~~ cmi1(sus 4)/11//1/1 I 170 II ..1. rio '"to IBb9//1 1/I/I~Bb/l1 IBbMajl/!)Jsb9/11 /1//1 Icmi7(SUS 4)//1 J 175 180 IBbMaj/l1 Icmi 7/11' B b6//1 /F/F7/1 fani7/11 I gm7/11 I 07/11 I 185· /(#07/11 'a#07/11 /O/lI/G9(+5)/I1 I 190 ·(v becomes iv in C) = pivot chord 137 ORIGINAL VERSE RECAP (m. 193-2(0) Ic6/11 If#0/ll /dmi7 IG7 I IC/lami /dmi7 IG7 I Jemi7 IA 7 I /dmi//I J 195 IG7/11 I 200 ORIGINAL CHORUS RECAP (m. 201-206) I dmi1/G7!lCMaj1dmi7emi7 A7{ dmi7/G71 ICMaj1dmi7ebOemi7 / I fmi7 {Bb7 I /emi7/A 711 205 CODA (m. 207-218) Idmi 7/111 cmi7(9)/II/ dmi7 IGI/CO/l" C6(+7)/I!/Ab/l1 /Bblll I 210 I CIII //111 IC#~7 /II I11/1 J CMaj711 II FINE 215 138 APPENDIX G HARMONIC ANALYSIS OF ALL OF THE VERSES AND THEIR VARIATIONS "LIFE'S TOO SHORT" VERSE 1 (m. 12-20) ~C/Il If~/Il (dmi7/G7 I le/lamif dmi7/G71 {emi7 /A7:/dmil/l I /I. 12. 15 I G71/1~ G7/11 I 20 VARIATION 1 Verse (m. 30-37) U;C/Il I f#O/lJ/n7 IGMaj1 i ICI/ami /G9/11 /emi7 lami7 A7/ dmilll I G7//J;n 30 35 ~ VARIATION 2 Verse (m. 60-67) ~ Fl/llbO/ll1 gmi7 IC71 IF/ldmi1 f gmi7/C71! ami7 In7I Igmi71/1 I C71/1~ 60 65 VARIATION 3 Verse (m. 90-99) ...... IBblll IeO//1 Icmj7(sus 4)IF7 I I Bb/gmi7 I (cmi7 IF7J/ dmi7/G7(#9)1 I W ~ VARIATION 4 Verse (m.118-127) orBb(65sus)/l1 IcO/l1 I cmi7 IF7 I /BbMaj1/111 cmi7IF7 I I 120 ,.. , 2 . /dmi7(SUS 4)/G7 I Icmi/C7[D]*1 I F/F(+5)!)Jc~i/C7[D]/ /F[A]/Il J 125 • [ ] brackets indicate bass pedal chords ORIGINAL VERSE RECAP (m. 193-2(0) I c6/11 J f#O//I/dmi7IG7 I ICllami I dmi7/G7 I /emi7 IA 7 I Idmi/I/ I 195 G7/11 I 200 139 HARMONIC ANALYSIS OF ALL OF THE CHORUSES AND THEIR VARIATIONS "LIFE'S TOO SHORT" CHORUS 1 (m. 21-29) nr dmi7 /07/ ICMaF dmi7 emi7 A7/ dmi7 /07 / ICMaF dmi7 ebOemi1/ ", f2. , f~7 /Bb7 //emi7 /A7!1dmi7/071/ CII~CII/ I VARIATION 1 Chorus (m. 38-45) Ifdmi7/G7/ I CMaFdmi7emi7A7/ dmi7/07(b9)/1 40 /CMaj1dmi7ebOami7 ( fmi 7/B b7/ I emi1/A/ I 07(sus 4)/07/ I C6///:P 45 VARIATION 2 Chorus (m.68-75) ~gmi7/C7/1 FMaj1G7ami7D7(#9) I gmi7/7~7/ {FMaj10mi7abOami / I bbmi7 fEb7 I I ami7 /07 / Igmi 7(SUS 4)/C7(sus 4)1 /fUII/ )JJ 75 VARIATION 3 Chorus (m. 100-109) ~ cmi7 IF/ ( BbMaj1cmi7dmi70 7 I cmi9/F1311 100 IBbMaF cmi7(sus 4)C#6dmi I ebmi7{D7(b5)/ I dmi1/071 I I,· }1. 105 , cmi1 IF/ I Bblll) Bbll/ I 1111 I VARIATION 4 Chorus (m. 137-144) rt.; C7IF 71/ BbMaj1cmi1dmi107 / C7IF7 / I Bb6cmi1C#07dmi I ~ 140 /ebmi 7/Ab7/ I dmi7/07t/ DMaPEbMaFFI/EbMaj1I1/jJ1 ORIGINAL CHORUS RECAP (m. 201-206) Idmi7/07/1 cMaFdmi1emi7 A71 dmi7/07!/CMaFdmi7ebOemi7/ r fmi 7/Bb7/lemi7/A7/ I 205 140 HARMONIC ANALYSIS OF THE INTRODUCTION, TRANSITIONS, INTERLUDES AND CODA "LIFE'S TOO SHORT" INTRO (m. 1-11) ICII/II/I/I 1/1// /1/1 IF/emit! F/D7" G9 II/I f#O/l1 IG/Il IGI/I/ 1 5 10 TRANSITION 1 (m. 46-59) t(dmi7/G7I I emi7/AI/ dmi7/G7// emi7/AI I dmi7/G7!/ 50 I~/I--- Iemi 7/A(+9)1 Idmi7/G7!/ emi7/A(+9)1 /dmi7/G7I/ emi7/AIJj 12. - 55 107/1// e/ll I (I becomes V in F) = pivot chord modulation TRANSITION 2 (m. 76-89) I F6/11 Igmi 7/11 (F6/11 /F6(sus 4)/// IF6/11 /gmi7/1//F6[C]//I I 80 Igmi 7/// I F6/1// Bb9/// I F6/11 I Bb9//1 IFI/I I //// I 85 (I becomes V in ab) = pivot chord modulation INTERLUDE 1 (m. 110-117) . IGb6/Ab7//dmi1/G7// cmi1IF7 I IBbBbMaj1Bb131/Gb6/Ab71I 110 Idmi1/G7 II cmi7 IF7 I JBb//1 , 115 INTERLUDE 2 (m. 128-136) IFmlwl~ml@I@I@I@I@(@1 130 135 TRANSITION 3A (m. 145-168) Icmi7F7 I Idmi7//G7(+9)[C#] /cmi7F7 II dmi7//G7(+9) [C#] I 145 (cmi7F7" dmi7/1G7(+9)[C#] I cmi7//BbMaj1[F] I dmi(b9sus4)/lC#7/ 150 ------141 gmi7[C]/FI I elmO IIC#7/ gmi7[C]/FI/elmi7/D 7G7/ cmO IIdmi[C] I I 155 IdmflIII/ cmi71111 dmi7/11 Icmi1 /II ( BbMaj(l3)/l1 (cmi7/111 160 BbMaj(13)11I' cmi7 IIIIdmi7III Icmi7/11 Idmi7 III/ I 165 TRANSITION 38 (m. 169-192) n( cmi7(sus 4)111 11111/ Bb61111 11I1;n [cmi7(SUS 4)111/ 1111 I J\ 170 'I. 3, I 2. Jt, IBb91111111l1JB blll B bMajllt)jsb911111111 I cmi7(sus 4)1111 17~ 180 IBbMajll1 (cmj7 III/Bb6111/F/F71/fmi7III/ gm7III/ G71111 185* I f#07111' a#07III! GIIII G9( +5)111 J 190 *(v becomes iv in C) = pivot chord CODA (m.207-218) 'dmi7/111 dmi7(9)1I1/ dmi7/GI{CO/l1 /C6( +7)111 IAblll IBblll1 210 I ("'1,,11'1,1 ,.,#07 '11111'1 1,., .. " "'INE ~ II I "I...... , " ..... n, .....~J ;7/,11 I I, . I 215 APPENDIX H 142 AFRICAN DRUMMING African Bell Shaker 1 Shaker 2 Bongos Conga 1 ~J zr.l 2r~ Conga 2 [r.tn GJf) ill T AMBOO BAMBOO Bottle & Spoon 1 ~l r-t-J r-r'j ~ Bottle & Spoon 2 ~ '1 fh!j jI B,ft] • ~ ? ". Bamboo 1 [fb 13, ftz ~117] (fuller or [oule) ., ., > • Bamboo 2 (fuller or [oule) [lTIJD ~1fl ~ Bamboo 3 (cutter or chandler) (f1J [f:l f@~ill Bass Boom (01):09) 143 APPENDIX I ENGINE ROOM Iron 1 Iron 2 Cowbell 1 Cowbell 2 Cowbell 3 Conga 1 Conga 2 Tambourine Scratcher Drumset ------144 APPENDIX J RHYTHMIC ANALYSIS "LIFE'S TOO SHORT" KEY: Upper pans (UP) = tenors, double. tenors, and seconds Lower pans (lP) = quads and cellos Bass = tenor bass 6,8,9,10 bass sets Rhythmic motive 1 = m. 12 in UP ~ fl3_ m ntm Rhythmic motive 2 =m. 21 in UP tJ [J J. Rhythmic motive 3 =m. 1 in lP ~ .FJ1_ff1 .ITt Jfl UP strum = 4 ~.Ffj 9.Ffl ij.FfJ' '1.~ ard ~m1ffj lhJ~.ffJ lP strum = 4'1 ~ '1.ffj 9 ..f9J ~.fJJ INTRO (m. 1-11) Rhythmic motive 3 in lP m. 1&3. Rhythmic motive 1 in UP m. 5&6. Variation on Rhythmic motive 2 in UP 7-9. VERSE 1 (m. 12-29) Rhythmic moti ... e 1 in UP m. 12 CHORUS 1 (m. 21-29) Rhythmic motive 2 = m. 21 in UP Variation on Rhythmic molive 2 in UP m. 23. Variation on Rhythmic motive 2 in UP m. 27 beats 1&2. VARIATION 1 {on verse) (m. 10-37) Rhythmic motive 3 in lP m. 30. Variation on Rhythmic motive 1 UP m. 32,33,36. VARIATION 1 (on chorus)(m. 38-45) Rhythmic motive 2 in UP Variation on Rhythmic motive 1 UP m. 40. TRANSITION 1 (m. 46-59) Rhythmic motive 1 in UP m. 50-53. Rhythmic motive 2 in UP m. 54, 56. VARIATION 2 (on verse) (m. 60-67) Rhythmic motive 3 in lP m. 60. Variation on Rhythmic motive 1 UP m. 62. VARIATION 2 (on chorus) (m. 68- '7~) Rhythmic motive 2 in lP m. 68 Variation on Rhythmic motive 2 in lP m. 70. 145 TRANSITION 2 (m. 76-89) Augmentation of rhythmic motive 2 in UP m. 84-87. Rhythmic ostinato in UP & LP m. 76-83. Variation on Rhythmic motive 1 in UP & LP m. 88-89. Unison rhythm in all parts m. 88-89. VARIATION 3 (on verse) (m. 90-99) Unison rhythm in UP & LP m. 90. Rhythmic motive 1 in all parts m. 90. Rhythmic pattern and extension (4 against 3 2x) m. 98,99. VARIATION 3 (on chorus) (m. 100-109) Rhythmic emphasis is on the l"e"+a in m. 103-105 and the LP strum is broken to emphasize this. Pan layout gives accent here. Augmentation of rhythmic motive 2 in UP m. 106. INTERLUDE 1 (m. 110-117) Variation on rhythmic motive 2 in UP m. 112,113,116. Rhythmic sequencing pattern in UP m. 110,111,114.115 against bass. VARIATION 4 (on verse) (m. 118-127) Rhythmic motive 3 in LP m. 118. m. 12( is augmentation of m. 123. INTERLUDE 2 (m. 128-136) Two rhythmic patterns pitted against each other in m. 128-130. Unison rhythm in all parts m. 133. Tw~ ,!"'?ythmic patterns pitted against each other in Ill . ..,<+-136. VARIATION 4 (on chorus) (m. 137-144) Variation of rhythmic motive 2 in UP m. 137. Vari~tion cfrhyt..imic ffio.i·iC 1 in UP HI. 138. Variatiliii lit" ;hyt.'iwic motive 2 in UP m. 139. lTni~nn rhythm in aU pa... t~ except the b$$:~ :no 143 144. 'rKANSITION 3A (development) (m. 145-168) Augmentation on rhythmic motive 2 in UP beats 3&4 m. 157-160. Variation on rhythmic motive 2 on beats 1&2 in all parts m. 160-4. TRA1'l~ n 1( ..~ 3B (development) (m. 169-192) Rhythmic i.iii.~rest is in bass ostinato. Melody in UP m. 173,174,177 is not sycopated (straight eighth notes) ORIGINAL VERSE RECAP (m. 193-200) The strum in the seconds changed from original strum. Rhythmic motive 1 in UP m. 193. ORIGINAL CHORUS RECAP (m. 201-206) Rhythmic motive 2 = m. 201 in UP. Variation on Rhythmic motive 2 in UP m. 203. 146 CODA (m. 207-218) Variation on Rhythmic motive 2 in UP m. 207-209 beats 1&2. m. 210-211 is the first time rhythm section drops out. Rhythmic motive 1 in LP m. 214-215. 147 Glossary of Terms Alexander Ragtime Band: Con!'idered by most to be the first tamboo bamboo band to switch from bamboo to metal containers hl the late 19305 (some sources claim the year 1935 while others claim it was 1938). They were located in Wood brook on the comer of Tragarete Road and Woodford Street. Presently the Republic Bank stands on this spot. Hadjohn: A person who gets into a lot of trouble. Most of the time these we!"t> underprivileged people living in John John which is the slum area just east of the Port-of-Spain. The Steel band badjohn role was a source of identity, image or facade. Ballad Calypso: Employing dialogue and assuming the voice and mannerisms of one or more characters in a story (pantomime). Barrack Yard: A place where the first bands (usually consisting of badjohns) would meet. These were simply urban slum dwellings built behind the frontage of a city street in the Port-of Spain during the 1800s. Bass Boom: The lowest instrument of the tamboo bamboo band. Beat pan: To play the instrument. Beater: Is a person who plays the steel drum. It is also referred to as the device (mallet) you hit the instrument with. Behind the Bridge: A term used to designate the areas located on the eastern side of St. Ann's River "the Dry River." Belair: The music was more lyrical than the calinda; the verses were longer and used dou ble entendre. Biscuit Drum: One of the first metal containers to be beat. This was a precursor to the 55 gallon drum which is used to make steel drums today. B!end: A term used b; the Trinidadian arranger or performer which means harmony or double stop. Blending: A term used by pan tuners to describe the fine tuning and finishing tuning touches on the pan. Blockorama: A party (jete) in which the streets are blocked off. Bobolee: Beating on an effigy of Judas Iscariot on Good Friday. Bore pan: A term used to define a pan which has small holes, about the ~ ize of a !>aper punch, bored into the grooved areas of the notes. These holes are approximately a half inch apart from each other. This pan innovation was invented by Denzil 'Dimes' Feranandez in 1984. 148 Bottle and Spoon: Filling liquor bottles with varying amounts of water and beating the bottle with a spoon. This would be used to accompany tamboo bamboo bands. Even today one can walk into a pub and see people beating on the sides of their beer bottles to the blasting soca music. Brake Drum: (see iron). Calinda: A song accompaniment to stick-fighting duels. Sometimes spelled Kalinda. Calypso: A type of music invented by the West Indians. Characteristics include satirical lyrics and s)'ncopated rhythms which incorporate topics such as politics and sex. The word has various derivations (1) Kaiso--West African. (2) Carrouseaus--French. (3) Caliso--Venezuelan. (4) Arieto--Arawak. The first appearance of the term to denote the Trinidad Carnival song occurred only in 1900 spelled Cal ipso. Alternative forms used in the press during the first decade of the century are Calypso. callypsos. caliysoes. careso and carisoes. The four types of calypso songs are the calinda. the be Iair. the ode, and the ballad. Calypsonian: The calypsonian is an actor or mime as well as singer and composer. often accompanying himself on his guitar and sometimes dancing in performance. Calypso Tent: A place where Calypsonians sing. The first tents where in the barrack yards and were constructed from bamboo. Today calypso tents arc usually inside a building containing a stage. such as Calypso Spektakula '89 in Belmont. and they are accompanied by a soca band. These shows are best understood by the native Trinidadians. Canboulay: FR (Cannes bruJees). A torchlight procession by the freed slaves rein acting the days when slaves would h:we to put out night time fires on the sugar plantations in the 1800s. Carnival: Carnival preparations begin as early as Christmas. The Carnival season is a festive celebration in Trinidad and Tobagc.. The ufficial dates of Carnival run from the Sunday (Uimanche Gras) before Ash Wednesday to Tuesday night (Mardi Gras) at midnight. Late Sunday night/early Monday morning is called J'Ouvert Morning. and Monday is called Lundi Gras. The final Panorama competition is the day before Dimanche Gras. Carnival is a time for many joyous happenings including plenty of music. elaborate costumes, all nightjetes. and street processionals. Caustic Soda Drum: Another type of metal container which was used in the early steel bands. C.D.C.: Carnival Development Committee which sponsors Panorama in collaboration with Pan Trinbago. They are managed by the Joint Management Committee. Cedula: A Certificate of personal registration. In Spanish-speaking countries. a certificate or permit. 149 Chandler: FR (chandelier). A higher pitched bamboo instrument used in the tamboo bamboo band. This instrument was also referred to as the cutter. Chan t wei: FR (chantrelles). The lead singer of the early mas' bands and tamboo bamboo bands. Chantwel singers were often present at stickfights. Coaster: A panist who is barely making all of the notes and risks the chance of being cut or replaced and thus losing his/her chance at earning a playing position in Panorama. Conventional Steel Band: No less them 50 members and no more than 100 for a Trinidad band. In Tobago conventional steel bands will not be permitted to participate with less than 30 players or with more than 100 players. Creole: A person who is born and raised in a new area as a distinction from those slaves who were born in Africa. Creole today is used to describe Caribbean language "patois". food, or a person of mixed heritage. Cuff: To strike a note with one hand. Cutter: The highest pitched tam boo bamboo instrument sometimes called the chandler. Today the iron in a steel band has sometimes been referred to as cutter. Dame Lorraine: Fashionable Lady. Dame Lorraine took the place of the banned Sunday night canboulay procession, and it is believed that it began some time after 1884 and continued until the beginning of WWII. Dame Lorraine was entertainment in the form of a two act performance for a paying audience. A small string band supplied music. The first part of the show consisted of a grand march of people dressed in 18th century costumes of French aristocracy. The second act was a parody of the first. All dialogue was spoken in the Creole tongue. Dimanche Gras: The Carnival activities the Sunday before Ash Wednesday. Today it is a competition for the best costumes (Kings and Queens of Mas' bands) in the Queen's Park Savannah. Drop: To get a free ride in an automobile. Engine Room: The percussion section of the steel band. Instruments in the engine room include iron. metal scratchers (guiro I, congas, tambourines, cowbells. and drumset. TIle engine room is located on the float. Fete: A party. French Revolution: 1789-1799. 1777 saw the first visit to Trinidad by a French planter Philip Rose Roume de St. Laurent. Impressed by the profitable plantation possibilities on Trinidad, he traveled to Spain in 1783 to ask for permission for foreign immigration to Trinidad. Foule: FR (foul~). Sometimes referred to as fuller or buller. This is a middle voiced instrument of the tam boo bamboo band. 150 Four Pan: A relatively new family type of steel drum consisting of four pans whose skirts are cut to show only one ring. These pans are similar in range to the quadrophonic and cello. Grooving: Locking in all of the strumming patterns. This ternl is "liso used by pan builders which means separating the notes by hammering out lin!!s with a dull nail punch. Hosein: (Also Hosay, Hosse) A Muslim holiday which is practiced in St. James, Trinidad where large decorated Tadjahs are carried through the streets accompanied by tassa drumming. This Muslim holiday lasts for three days held on the 10th day of Moharram, first month of the Muslim lunar calendar. Iron: A piece of metal, such as a brake drum, used for keeping time. The people who play the iron are called the ironmen (brake drummers) and they form part of the r-ercussion section called the engine ioom. Iron Band: Another name for the early pan bands of the 1930s and I 940s. Jamette: FR (diametre). Sometimes spelled jamet. A name for a person of the lower class in the late 1800s. Jerseys: T-shirts that the sponsors provide for the Panorama competit~Ui1s. John Canoe: A figure representing New World Africanism. Typica~ John Canoe characters wore semi military, semi-mountebank costumes, were masked and carried elaborate structures of cardboard and tinsel houses on their heads. Joining a Tune: This term means putting together in the correct order all of the melodic pieces of a Panorama arrangement. In most cases the tune is not taught in the order it was intended to be performed. Joining the tune simply means learning the correct order of verses, choruses and variations. J'Ouvert: FR (Jour Ouvertt) Early Monday morning Carnival activities. The first day of Carnival. Jump up: To dance, be merry, be happy, to play mas', to enjoy Carnival. Kaiso: Is perhaps a corruption of the Hausa word Kaito known in West Africa. Hausa is the language of Nigeria. Kaito (pronounced kaitsc) could be where the term calypso comes from. Kalinda: Sometimes spelled Calinda. A term used to associate song and dance in the Caribbean. The Kalinda was often done at stick fighting gatherings in the barrack yards. Lime: (Slang) A noun in Trinidad meaning to relax, to hang out, to drink, ... etc. Lundi Gras: The Monday before Ash Wednesday. Mardi Gras: The Carnival Tuesday before Ash Wednesday. 151 Mas': FR (Masque or masquerade). Masque is Creole for masquerade. To wear a costume or disguise. Mas' Bands are groups of people disguised in like costumes to depict a specific topic or theme. The Mas' band is usually sectionalized into sub topics. Each M:is' band has a king and queen which leads the band through the streets. Most of the king and queen costumes are very elaborate; the kings and queens participate in Demanche Gras competition in the Queen's Park Savannah. Port-of-Spain on the Sunday before Ash Wednesday. Moco Jumbie: Was originally a cult figure found throughout West Africa. In the Trinidad Carnival years ago he was a favorite character bobbing along the street on gaudily striped stilts ten to fifteen feet high. N. A. R. : National Alliance for Reconstruction is the ru ling political party in Trinidad and Tobago which came to power following the defeat of the P.N.M. in 1986. National Steel Band: A steel band consisting of twenty-two members which was originally conceived as three hundred by the Minister of Education Dr. Patrick Solomon in 1958. The more realistic twenty-two membered steel band was chosen to represent Trinidad's finest steel drum players and were sponsored by the Government to perform concerts. The first performance of the National Steel Band was in 1964 at the Moral Rearmourment Conference of Youths on Mackinac Island. Michigan. Clifford Alexis was a member of this band. N .A. T. T .S.: National Association of Trinidad and Tobago Steelbandsmen. (1966-1971). In 1970 the Steelband Improvement Committee (S.I.C.) was formed without jurisdiction of N.A.T.T.S. and finally took over in October of 1971 and was renamed Pan Trinbago. N.C.C.: National Carnival Commission as of 1986 is a government-sponsored organization established as Carnival Development Committee (C.D.C.) in 1956 and designed to service Carnival celebrations which had become too large for the traditional management systems. N.J. A. C.: National Joint Action Committee a political party opposing the P.N.M. during the 1970s. North Stands: Located in the Queen's Park Savannah. these stands fonn part of the stadium in which all Panorama competitions are held. The north stands are for the rowdy (usually younger) crowd. Pt:uple drink. lime, picnic and do percussion jams with the steel bands. People in the north stands usually stand up to watch the activities instead of sitting down. Octave Tuning: The process of tuning a steel drum using the harmonic series. The octave harmonic is generally found near the grooved portion of each individual pitch. This first harmonic (partial)works with the fundamental pitch making the note ring out. Octave tuning is credited to Bertie Marshall. Ode or Oratorical Calypso: Waf!, the use of polysyllable words and the attempt to cram as many words as possible into the melodic line. The Calypso was sung in English and emerged in the early 1900s. 152 Ole Time Steel Band: Today this is a competition which is trying to keep the old art of pan-around-the-neck alive. Each person plays one drum and the entire range of instruments is covered. The tuning and some of the repertoire is modem. For the Panorama com~titions these fit into a special category and the rules state that no less than 20 and no more than 40 members can outfit a single band. Ole Time Pan Around the Neck Bands are growing while conventional bands are diminishing each year. Some feel that these bands will continue to grow while the bigger conventional bands will eventually die. Oval Boys: The first name of the InYaders Steel Band. The Oval is directly across from the pan yard on Tragarete road where the English sport cricket is played. The Invaders, one of the oldest steel bands and home of Ellie Mannette. went through several name changes: Oval Boys, the Sheil Invaders. and now the Trintoc Invaders. Packing: Rehearsing a calypso song to the point where lyric, melody. rhythm. phrasing, and pantomime cohere into a complete work of art. Pan: A term used interchangeably with steel drum. Pan Band: A term used to describe the bands from the 1930s and 1940s consisting of metallic objects such as biscuit tins, caustic soda drums. and zinc tins which they beat as percussion instruments during Carnival. Panist: A person who plays the pan or steel drum instrument. Panorama: The steel band competition dating from 1963 to the present. The Panorama competition is div:ded into preliminaries. zonal finals. semi-finals. and finals. All the Panorama activities are held before Dimanche and J'Ouvert Morning. Finals were February 4th in 1989 and February 24th in 1990. Panorama Syndrome: In the 1970s steel bands began to lose their place in Carnival. The bands channeled their efforts into winning Panorama. Pan Trinbago: Since 1971. the governing body of steel band Activities in Trinidad and Tobago. Past Presidenl'i include: 1972 Roy Augustus. 1974 Bertie Fraser. 1978 George Goddard. (date ?) Arnim Smith. 1989 Owen Serrette. Pan Yard: A large outside open area ",here steel bands rehearse. Paung: Trinidad Christmas music. Old Spanish type song originating from Venezuela. Patois: (pronounced: pat twah) A broken French-based dialect. Pier rot Grenade: A type of old masquerade character and costume portraying the Grenada Clown. Pitting: In a Panorama arrangement. orchestrating the higher and lower voices in the steel band in a question and answer (call and response) fashion. It is an exciting moment in the arrangement because the two halves (upper and lower pans) battle it out. 153 Phrasing: A word that the Trinidadians use for the rhythm of the melody. P.N .M.: People's National Movement. This was the current ruling political party in Trinidad and Tobago until N.A.R. replaced it in 1986. Punchinello: Carnival character that depicts a clown. Reggae: A form of popular Jamaican soul music characterized by a heavy bass drum on beat three and strumming on off-beats. Roadbeater: A panist who plays only during the Carnival/Panorama season. Roadmarch King: The people's choice. The calypso the majority of masqueraders voluntarily choose to play, sing, and dance to during the Carnival street parade. Roadside: A steel band that plays on the road during Carnival. Usually the steel band is on some type of shaded and mobile flat bed truck so the players do not have to rely on pan pushers. Roti: An East Indian food similar to a Mexican burrito. Savannah: The Queen's Park Savannah is located in the northern outskirts of the Port-of-Spain. It is an open square or park which contains a race horse track and grandstand. During Carnival the Savannah stage i~ used for various competitions such as Panorama and Dimanche Gras. Shac-Shac: (shak shak (If shack shack) whkh are m~acas. Shango: The slaves that were transported to Trinidad were mo<;tly frl)m the Yoruba and Madingo nations. Both these nations worshiped the god Shango who was lord of thunder and lightning. Shango worship is accompanied by the "jungle" rhythms of the Shango drummers. S. I. C. : Steel band Improvement Committee which took over the responsi bilities of N.A.T.T.S. in 1970. Pan Trinbago (l971-present) is now the governing body of steel bands. Sinking: nle process of hammering down the bottom of a steel drum making it concave. Ska: A precursor of reggae. It is a faster reggae beat. Skating: "Skating over the notes" is a phrase used to describe a person who is not really playing all of the notes but who is going through the motion of playing the notes. Skirt: The outer area of the steel drum. 154 Soca: Soca is an acronym for soul calypso. Soul calypso is a dance beat which evolved during the 1960s from the fusion of rhythmic patterns from Shango drumming. Hosein tassa drumming. and calypso. In the 1970s elements of Black American funk were added producing a "rotto" beat. Eventually these merging beats created a rhythmic melting pot and the term soul calypso (soca) emerged. Soca Pirate: A person who illegally sells bootleg copies of soca recordings. South Stands: The spectator stands in the Queen's Park Savannah. The people in this side of the grandstand sit down and watch the activities. The judges for Panorama are also on this side. Spider web pan: This was a tenor pan design~d by Anthony Williams. The pattern is in the circle of fifths. Today this has become a standard design for tenor pan. This pattern was invented in 1953. Sponsor: The sponsor of a steel band financially supports the band. Sometimes the sponsors' name will proceed the band name (e.g .• TRINTOC Invaders or WITCO Desperadoes). Stageside: A steel band which performs on a stage rather then on the road. See Roadside. Steelband: A steel band contains a family of steel drum instruments with some type of rhythm section. Steelband appears as one word in Trinidad and two words in the United States. Sieei Drum: A pan which is constructed from the bottom of a 55 gallon steel barrel which is sunk down in a ~ollcave fa~hiun. The families of instruments are defmed by the number of notes. the pattern of notes on the inside of the instrument. the amount of instruments the panist is expected to play. and the range of pitches which are chromatically tuned. Stickfighting: Two people in a ring fighting each other with sticks. The French called it Ballaille bois. Strumming: A rhythmic ostinato used for chord changes. Styling: A term used to designate the pattern or layout of the pitches inside a pan. Supporter: A person who backs a particular steel band either financially or by physically helping push the steel band through the streets. Tamboo Bamboo: FR (tambour). Bamboo drums. Rhythmic stomping tubes used to accompany stickfights and to play in street processions during Carnival. A solution to the banning of African drums. Tamboo Bamboo Bands were prominent in the late 1800s and early 1900s. T. A. S. P.O.: Trinidad All Steel Percussion Orchestra. The members of T ASPO went to England in 1951 under the direction of Sergeant Joseph Griffith. This group earned an appreciation for their new art form and for the Trinidadians from the praise of English audiences. 155 Tassa: The tassa ensemble is a family oftassa drums which came to Trinidad via East Indian indentured workers during the late 1800s. Timing: Is the beat, rhythm or tempo. Trinbagoian: A tenn used to describe a person from Trinidad or Tobago. Trinidad and Tobago: A nation in the West Indies, the lesser Antilles islands, made up of two islands. They are an independent member of the British Commonwealth since 1962. Trinidad is located just northeast of Venezuela. The fIrst steel drums were invented here in the late 1930s. Trinidad Time: When a Trinidadian tells you to be somewhere by a certain time. you could be an hour or more late and still be on time. Time is a loose subject. The Caribbean islands are on Atlantic time. TT: Trinidad and Tobago's money. T • T . s. B. A.: Trinidad and Tobago Steel Band Association. This was the first organized steel band body which held that name from 1950-1966. In 1966 it became NATTS and in 1971-72 it became Pan Trinbago. V. E.: Victory over Hitler's Gennany V. J.: Victory over Japan. ------156 SELECTED BIBLIOGRAPHY "A Better Deal for Calypsonians, Panmen in US." Trinidad Guardian 19 Sept. 1970: 7. 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