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How about letting the arrangers  of the bands in the finals be the judges.

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I did Gerard. And I also said that we could give it a try. So they are not as good as you say BUT they are arrangers and the topic is "let the arrangers judge" When Robbie did not make the finals in the recent past. if my memory serves me right, would you object to him being a judge? What about Guppy in 2011?

As far as the "omissions" were concerned I reiterate "If there are any omissions 'twas not intentional". What's your point?

We will never be contented with the judges because it is next to impossible to please all the people all the time, the best we can do is stick with the people around Trini pan.

Let me put this to you all, if you have ten judges, five with a jazz background and five with a classical judging panorama, do you think they will judge the music the same way?

They won't qualify for chances are they wont know let alone understand our indegenous music and our unique style in expressing our arrangements.Would they understand Boogsie's expression of 'More Love". The most they could do is to recogbize and appreciate the harmonies but outside of that, I am afraid nothing more. Which of these jazzists or classical musicians could score a band out of 10 in rythmn? or Tone......colour......perhaps balance yes...........anything else? I dont think so..

I was told that once someone knows music and you give them the criteria they should be able to judge panorama, I personally think that it is not all the cut and dried, which ever type of music the  judge likes will show up on his score sheet, this is why it is important to know the back ground of each judge so that you have a balanced panel. 

Agreed, Cecil ... every human being, musically trained or not,  has their own bias(es), but the best one can do is make an assessment of their capacity to stick to the criteria.

That said, special care would have to be taken to ensure they could take into account such criteria as "stage impact", or "crowd responsiveness".

It's a very difficult challenge for arrangers to provide score sheets for their music, since much of it is arranged spontaneously, on the spot (in the panyard).  Furthermore, the job of writing the notation requires both time and money ... I've done it before, and I know.


A L Nunes I read and am aware that your omissions were not intentional. The list for arrangers with 169 bands entered for panorama would be a long one. I am saying a great number of them do not make the finals in the lower categories and when they do finish low down. The exceptions are few, so I don't see these arrangers as judges for the national panorama. Some were tried in the school panoramas. One in particular did not make the semis in the small band category for three  consecutive years,another started at large semis and did not make the large finals for two consecutive years.I won't agree with Cecil's post that arrangers should judge panorama. "if they cyah make below, how dey judging on top"? There are the few I would not object to, but there won't be enough to make a panel.

I would argue that the selection of Judges may be less of an issue than the criteria that they are expected to use to select the winning band. In the file "Judging Criteria" that I have attached you can see that there isn't a lot of room for the Judges, to decide on their own, who deserves to win. Being that "Creativity" is only worth 10 points (out of 100) it doesn't benefit anyone to try things that haven't worked in the past. Also there is a mere 5 points for "Rich Quality of Sound," vs. 10 points for dynamics. So it is better for the band to hit so hard they bend the notes in an effort to get more volume, and hope the judges don't notice the bending notes, than it is to keep the upper end of the volume under control in an effort to get more points for "rich quality of sound." 

Under the "Arrangement" section of the Judging Criteria each of the the sub headings promotes the Theme and Variation form that is used. While I LOVE Panorama Theme and Variations it should be up to the composer/arranger to decide if that is best for arrangement. For example:

Re-Harmonization: 12 points
The ability of the arranger to re-harmonize the calypso chosen as the prepared piece. After the calypso has been played in its original form (harmonically) the re-harmonization could be limited to one specific section or could be applied to the remainder of the arrangement.
Melodic Development: 8 points
The ability of the arranger to embellish/solo on, and utilize rhythmic variations of the melody in the arrangement.
Motivic Development: 8 points
The ability of the arranger to take a melodic motif(s) of the calypso and effectively utilize it (them) during the arrangement. Some arrangers may chose a particular line, a phrase or sometimes just a single note a
nd develop on it in as many ways they wish. 

Just a few thoughts that I have had after this past Panorama. I would love to hear everyones thoughts on this.

- Aaron



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