An Analysis and Review of Trinidad and Tobago’s2009 National Steelband Panorama
by Dr. Jeannine Remy
Trinidad, W.I. - The format of a panorama tune has evolved because of the early innovations of arrangers who actually gave the judges ideas for the categories of judging. Today some arrangers get so caught up in following the rules that their creativity is sometimes stifled. If one sticks to the idea of knowing that the judging is based on four main categories (arrangement, performance, quality of sound, and rhythm), then one can allow the creative juices to flow naturally.
To understand how the format of a Panorama arrangement evolved one must briefly study the early masters of arranging. To begin with the musical selections of the first panorama tunes were not that harmonically or melodically difficult. This gave room for the arranger to think about how to lengthen the tune into a steelpan arrangement. The first master of this was Anthony Williams from Pan Am North Stars who should get an honorary doctorate in music and metallurgy as a natural born genius in all aspects of pan. It is to his credit that we have the panorama format still intact. With his second panorama win in 1964 playing the tune “Mama Dis is Mas” he was the first arranger to add an introduction, modulate to the subdominant key and re-orchestrate a new section (background instruments) of the band playing the melody. The very next year Bobby Mohamed pushed the envelope even further by winning panorama with his arrangement of “Melody Mas”. The arrangement was not only about music but also about size, power and impact. This was the first time ever that over 150 players were on a panorama stage; he literally blew the crowd away! Musically if one listens to Bobby Mohamed’s arrangements one will find he does not always use whole sections of the verse and chorus in his arrangements. Hence we have one of the first uses of motivic development, which was later re-defined by Grand Master: Clive Bradley. “Melody Mas” had one of the first uses of jams (repeated chord progressions with an improvisation on top) and pitting the orchestra (call and responses between the backgrounds and frontline). In a nutshell Bobby Mohamed was experimenting with balance and orchestration. [music transcriptions of the two arrangers mentioned above can be purchased at www.theblueedition.com/ under Canboulay Productions].
The signature sounds and experimentations of Ray Holman, Clive Bradley, and Len “Boogsie” Sharpe have also left a huge impact on the quality of sound in a panorama tune. Ray Holman started the whole thing with his “own tune” and Boogsie followed. Mr. Holman along with Earl Rodney, Robert Greenidge and others have colored up the chord progression with their knowledge of extended chords, reharmonization and their use and understanding of jazz styles. It is this author’s personal belief that arrangers are still searching for ways to be different and yet please the crowd. The impact of the crowd is not supposed to sway the judges in any fashion but their response cannot be ignored. This year the crowd cheered the loudest during the selection of Edwin Pouchet’s arrangement of “First in De Line.” Although one would not expect the entire audience to be musically trained, the arrangement called out to them and drew them into listening to the different sections of the band...especially the cellos. The music spoke for itself and there wasn’t really a need for anyone to conduct the band in front and point to the sections of the band that we were suppose to listen to right now. That seems to be a new conducting style…jumping around in front and pointing to sections of the band they want us to hear.
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You speak of Anthony Williams being the first to add an introduction, modulate to the subdominant key and re-orchestrate a new section (background instruments) of the band playing the melody - it is obvious and unfortunate that you have not had access to much of the music arranged in the 5 years that preceded that (this music probably exists only in private collections - even so, the recordings often don't have the road versions which are more complete and feature more players.)
Lucky you - you don't have to suffer an awareness of the deterioriation of pan arrangement that Panorama has wreaked on pan. Since this is where the money is - the arrangers are pandering to the judging criteria and they wind up throwing every musical idea they can put their minds on.
You go into a lot of technical details about your observations and it is nice to hear from someone who has the knowledge of musicology to do so BUT - what about the cultural relevance of those passages - does all of this sound like music that reflects the spirit of Trinidad and Tobago, or am I the only nut that thinks that it has become so much gimicky, pretensious, claptrap that has nothing to do with sweet pan?
I'm afraid that if this goes on long enough - it will become our culture (it may have already).
Ah, you are not a nut. Finding old recordings is a difficult task. About twenty years ago Jeffrey Ross Thomas (ethnomusiclogist from Chicago) did a discography/study on all of the recordings he could get his hands on...that included visiting radio stations in Trinidad and cataloging music from as far back as he could find (like from the files of Rocky McCollins). I was asked to write on panorama arrangements but you are correct, research needs to be done before that. The Panorama syndrome of the 80s, which focused the energy on learning only one tune, seems to have bitten the arranger too. One walks a thin line when arranging only to score points from the judges. Who are you trying to please? I would hate to think that following all the rules for points would sway an arranger's choice of notes. I too am sick of hearing all of the same old cliché licks. But you have to remember that at one time someone used it and it was successful. We have to stop the copy-cat arranging and be creative. That's my opinion.
Thank you Mrs. Remy for this. You and Victor Prescod have contributed mightily not only to this forum but to the steelpan community in general with your insight. I wish more educators would take the opportunity interact with community.
Dr. Remy, Thank you for such an exceptional job, both in writing this article and on commentating during Panorama. I think every band would appreciate such comments along with their judging sheets, but alas, very little are usually included.You have proven that it is not just a time element. Frankly, I believe that for some, the reason there are so few helpful comments written by judges is that they don't truly understand some of the categories. More and increased training is definitely needed for our judges, as well as a wider net cast for those who can serve without bias.
sid,
i hear ya n i agree wit almost everything. u c the only difference is wit the foreign judges part. i dont think dr. remy can be an expample of a foreign judge because she has been in trinidad for many years now playing the steel pan until she now lectures it at the university (u.w.i). i have worked under her for 3 and a half years now and i consider her a trini to the bone and you would if you had known her 2.
it will be very difficult for pan trinbago to find someone who understands the steel pan like she does and have them here to judge panorama. they have brought musicians in the past to judge other competitions that i have heard of judges who had all thier degrees and stuff and they didnt even know what the guitar pan looked like and what was it's purpose.
all i say is that the judges should be trained professionally and not be judging based on them havin a degree or whatever.
This is excellent Dr. Remy. I don't agree with everything you said but this type of thoughtful analysis is so very needed by the pan community. Did you do an analysis for the other categories? I notice that people like Dr. Batson and Liam Teague are members maybe they could also provide a musical analysis. Dr. Remy could you review the DVD and provide us with further details?
I have also noticed that many of the participating arrangers in this past panorama are members. Could you provide a post summary on what you were trying to accomplish musically and why you approached the pieces the way you did? Amrit, Seon, Pelham, Robert, Ray and others this would be much appreciated.
Jeannine Remy > Pan WomanFebruary 27, 2009 at 12:05pm
That is why we are all different. We all have different opinions on what we liked...you are entitled to disagree...more power to you! It is hard to commentate in that one does not want to point out too many flaws but instead reward what was refreshingly good. I noticed that Amrit did explain what he was trying to accomplish...others should also follow suit and explain their work first hand. My comments were written while the show was going on, I had no idea who would take what place. I was just taking notes as the music was playing live. Watching the DVD would be a different experience and quite time consuming. Sounds like this is a job for somebody.
1.I am concerned, pan people, as to whether what happened to the goose {Exodus} escaped the gander {other bands}for real, and, if so, how come, because, I feel that others also had more than 100 players and were not interfered with. Ah wonder why!!!
2. Also, what was the real reason for Pan Trinbago's ruling? If every player getting $1000 and 20 players could be cut off, is it that the organization would retain some of this money per each unused player, thus increasing its coffers by about $20000 per band, in addition to the 30% take it already collects from each participating steelband?
Just a bit of food for thought on two concepts because all was never really ever fair in love and war, if you know wha ah mean.
Replies
Lucky you - you don't have to suffer an awareness of the deterioriation of pan arrangement that Panorama has wreaked on pan. Since this is where the money is - the arrangers are pandering to the judging criteria and they wind up throwing every musical idea they can put their minds on.
You go into a lot of technical details about your observations and it is nice to hear from someone who has the knowledge of musicology to do so BUT - what about the cultural relevance of those passages - does all of this sound like music that reflects the spirit of Trinidad and Tobago, or am I the only nut that thinks that it has become so much gimicky, pretensious, claptrap that has nothing to do with sweet pan?
I'm afraid that if this goes on long enough - it will become our culture (it may have already).
steelpanlady@yahoo.com
i hear ya n i agree wit almost everything. u c the only difference is wit the foreign judges part. i dont think dr. remy can be an expample of a foreign judge because she has been in trinidad for many years now playing the steel pan until she now lectures it at the university (u.w.i). i have worked under her for 3 and a half years now and i consider her a trini to the bone and you would if you had known her 2.
it will be very difficult for pan trinbago to find someone who understands the steel pan like she does and have them here to judge panorama. they have brought musicians in the past to judge other competitions that i have heard of judges who had all thier degrees and stuff and they didnt even know what the guitar pan looked like and what was it's purpose.
all i say is that the judges should be trained professionally and not be judging based on them havin a degree or whatever.
Ash
I have also noticed that many of the participating arrangers in this past panorama are members. Could you provide a post summary on what you were trying to accomplish musically and why you approached the pieces the way you did? Amrit, Seon, Pelham, Robert, Ray and others this would be much appreciated.
2. Also, what was the real reason for Pan Trinbago's ruling? If every player getting $1000 and 20 players could be cut off, is it that the organization would retain some of this money per each unused player, thus increasing its coffers by about $20000 per band, in addition to the 30% take it already collects from each participating steelband?
Just a bit of food for thought on two concepts because all was never really ever fair in love and war, if you know wha ah mean.
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