The talk of that festival was not about the winner but city synco tune of choice poet and the peasant,even up to this day still talked about,again iam not a player ,advantage. All bands are my bands ,I make the rounds and hear them all,as a player you are confined to one,
Your name calling does not add to discussion.iam a pan lover,I attended that final.i do not have musical training but not point I was making .your action are that they had the wrong judge.ps if you know Capt. Of synco,Errol Nicholas he can confirm my standing.have nice day.
My Dear Sir, Tony Williams was the first to apply the cycle of fifths on the steel Pan. However, the cycle of fifths has been around for centuries. The first time it appeared in text books was around the late 1600s and it was around before that according to Western European Music. So, Mr.Tony would have to be Dracula to have invented the cycle of fifths.
For those of you who don't already know the cycle of fifths demonstrates the relationship amongst the twelve pitches of the Chromatic scale. if what you say is true then no one before Tony was born would have been able to play a chromatic scale. These factors relate directly to Bach and the Tempered scale. These artifacts of music have been around before you Tony and I were born so try a study in western European Music. It would help since you are obviously not a student of music.
A lot a good history, but what year did Mikey start playing with Invaders?
Because I started playing during the lent of '58 right after liebestraum and Michael and Mickey was not there as yet. The first stage side was picked later that year and I was one of the players that was selected.
Hello My Man, In the last set of names after you mentioned Erroll Zephryn the players that are mentioned were guys that frequented the yard, not members of the Original Shell Invaders. The Original members of the stage side was as follows:
Ellie Manette (captain,) Emanuel (Jack) Riley, Winston (Mouthabee) Phillip, Erroll(Augmented) Zephryn, Clayton Green, Ansel Joseph, Roy Rollock. When we played "In a Monastery Garden" Ray Holman was added to the second section. He was always a fast learner but he was not allowed to play full time because he was going to college. He therefore came one night and learned the entire classic and played with the band on stage for the first time at Queen's Hall, David (Splav) Wadell was also added for the festival on seconds. Also added during the Festival were Laurence ,Sidney, Bailey, and Boothman, Mikey came long afterwards. Most of the younger players were really Starlift players who would go back and forth. As you would notice they all ended up with Starlift before they went onto Phase11. tThat period was the part of the history that always get mixed up. That's when the double seconds were introduced along with Double Guitars, and finally the Triple Cellos which I saw being built with my own eyes. As a matter of fact, I used to hit notes for Ellie as he tuned the cellos. Why don't the powers that be reach out to some of the people that came out of that band such as Ray. Zephryn is still around. Invest some time into the band and lift them up. They are responsible for giving the pan community all these different styles of pan and innovation that is still used today. They were once called the Harps remember? A. Joseph
This discussion is a very serious one, because to my opinion it is closely connected to the question "What is music all about?" It can be all and everything but it can also be used as a healing medium and then it is a soul to soul conversation. This is where I see the responsibility of a real musican.
I know for a fact that Bertie Marshall is the one that tune City Symphony Double Tenors then after Wallace Austin, and I also know that Bertie was really not the inventor of the double tenor it was already out there, .he improved on the tonal quality.
What about the Quadrophonics? A man name Curtis Edwards from despers want to kill me on Facebook, when I say, I not too sure bout Rudolph Charles was the inventor because ah hear that somebody stole a draft copy from A Williams. (The man want to kill me Oui?) lol
You have misunderstood, By "niche genre" I am referring to the market place for steel band recordings, not the uniqueness and versatility of the instrument. I agree with you on all the points you make.
Leslie, when we talk bout Standardization, we mean that where the holes are bored must be in the exact spot on all pans, all notes must be the same position, so that a foreigner can just walk in to another country where the pans are already set up and just start to play, like a piano
however, I respectfully disagree on a few points. The tenor range is not the highest adult mail voice to carry a melody because there are many male singers who sing soprano, usually found in opra's; but that's neither here nor there.
The reason why I agree with Bradley and many other arrangers and Pan builders, regarding changing the name from "Tenor Pan" to "Soprano Pan", is because the "Tenor Pan" does not play the tenor range...it's not even close.
The Double Second Pan is in the "Alto/Tenor" range , the Triple Guitar/Cello is in the "Tenor/Baritone" range...and so on. When the Tenor Pan was first constructed, I understand it's range was lower, so it made sense to call it a Tenor, but now it's evolved into what should be called a "Soprano". Can you imagine calling a Soprano Sax a Tenor Sax? That's what we are currently doing with the "Tenor Pan".
The D Lead used by most bands has a range from D4 to F#6 and the
C Lead often has a range from C4 to E6....that is not the range of a tenor instrument.
Finally, Bradley was not the only arranger that wanted the name changed to "Soprano Pan", there were other highly respected arrangers, pan builders and Trini musicians saying the same thing.
Here's some more info I believe may explain the origin of the picture. I use the work "may" because I can't recall when I first saw the photo, the article was about Hell's Gate or Brute Force not sure....check out this like from WST the photos my help.