I like how people are enjoying this kaiso classic MaryAnn. In case you’re interested the calypso is about a girl with a robust sexual appetite ( all day all night Miss Maryann, down by the seaside she sifting sand). By the way, “strings from a banjo” refers to her genital hair; “water from the ocean” refers to sexual climax... Calypsos are written with double meanings, so unless you’re familiar with the local slangs, you’ll think it’s an innocent composition.
I love how your chord additions sound! But I am having a hard time deciphering the theory you used? For example the first 3 notes were A4, C5, F4. You translated that into A4+F4, C5+A4, F4+C4. Based on the triads you mentioned I would have guessed instead of C5+A4 it would be C5+E5 (third up from c chord). And instead of F4+C4 it would be F4+A4 (third up from f chord). Im just getting into theory so just trying to make sense of things :)
Hi Ryan! Great questions, and thanks for helping me pay attention! The simple answer is: I made choices that sound and feel good to me. For more in depth, feel free to keep reading... I think where it actually doesn't line up is the 2nd time I play F4+A4 together, because that's over a C7 chord. But the A4 in the melody is so short, it can be analyzed as a "non-chord tone" that quickly settles into a G. There are several pieces to answer this question. 1) Non-chord tones are allowed in melody and/or harmony. These "abnormalities" to theory are actually what keeps music interesting. Remember, theory comes from music more than music comes from theory. Music that breaks rules usually stands the test of time because it's changing theoretical practice. Bach broke rules, and then his practices created the standard for the rules we now associate with theory. 2) I'm keeping the melody on top of the chord. Our ears pick up the outer voices (soprano and bass voices, and in the case of pan music, lead/tenor pan and bass) more than the inside voices, although the "crunchy" sounds draw plenty of attention, too. So the first phrase of the song uses the melody: A4, C5, F4, A4, A4, G4, Bb4. Those notes generally stay on top. The chords don't change quite as fast as the melody, so the two chords I usually hear under that melody are F Major (under the melody notes A, C ,F, A) and C7 Dominant (under the second A, G, Bb). Putting the E5 on top would take away from the melody being on top, so if I were to use the E, I could use E4 instead of E5. 3) What I played SOUNDS good to me, and as a performer, the sound is more important than the theory. That certainly doesn't help learners who are coming here to figure out "Basic Harmony" on pan, which is the title of the video. But the specific sound of pan has a certain resonance that can make or break subsequent notes within a passage. When I hit an F, and then move to an E to match the C chord, the F is still ringing, and then I get two pitches that clash. Staying on the F is sometimes more peaceful to my ears. I CAN move to the E, and I have moved to the E on occasion. But the F is just a comfortable choice for me to play, listen to, feel, etc. 4) Ultimately, sometimes we play not only what sounds good, but what FEELS good - especially on physical instruments that require agility (movement across the pan, for example). I hope this gives insight on WHY I made the choice I made. Either way, we can default to: ENJOY MAKING MUSIC! It's a treasure no matter how you dig in. Thanks again!
@@CotePercussion Thank you so much for the quick detailed answer! I was thinking there was a specific formula used, but it turns out it is both an art and a science. That makes things easier for some, but harder for programmer types like me :) It totally makes sense to add chords below the melody, that is a great tip. I've had a tenor pan on order for almost a year and it's arriving soon, looking forward to getting the "feel" for the instrument then.
@@agler_ I like the way you put that - "An art and a science." Just know that many musical masterminds were scientists before artists, and they had their own successes. Some people love and connect to the math of music! Follow what makes music feel right to you, and you'll connect in your own way. I'm currently waiting for my next instrument, too! It'll be extra special when it shows up! Have a blast with it!
Hey Dan you're 100% accurate. Good catch! It's happens in the 3rd phrase, too. These D.I.Y. projects take a lot of production time, and things slip through the cracks when I'm tired! There's probably not a way to fix this once it's uploaded, but I'm shocked nobody noticed for over 6 years haha. Sorry about the mistakes!
Great question! It's based on the top of an F scale, with a sequential lick that kind of just "waterfalls" down the scale in groups of 4 notes: F, E, D, C, D, C, Bb, A, Bb, A, G and skips down to end on the low C to start the next phrase. You can practice these types of scale pattern exercises from the bottom or top (or middle) of the scale by doing 3 or 4 notes at a time and looping back. For example, the opposite pattern (from the bottom up) would be: F G A F + G A Bb G + A Bb C A + Bb C D Bb + C D E C + D E F D + E F G E + F.
Mary Ann (Maryanne/Marianne/etc) by Roaring Lion. While there's no copyright date on the record, I think the link below is the original recording. I've read that the song was debuted at Carnaval in 1945. th-cam.com/video/AGjqNGJYaPw/w-d-xo.html
I caught hell for playing Irish music and listening to it how is it you’re able to play an instrument without giving Homage to the creators of this instrument first and foremost. And why is it OK that you’re playing an instrument that is not native to your culture and you don’t catch Hell
Thank you for asking. First and foremost, I'm sorry that happened to you, and I wish you courage to push beyond others' negativity. I hope you pursue Irish music and whatever music builds bridges between cultural learning and understanding as you enjoy art created by other cultures. As humans, sharing in the joy of a culture should include paying homage to it. Steel pan is one of the exports of Trinidadian culture, and as an export, it is enjoyed by many worldwide. Part of my enjoyment is not just listening, but also creating and exploring music as a player - which deepens my understanding of how and why steel pan matters to more than a single culture. At live performances, I frequently display the instrument, discuss the origins of the instrument, and also the builder of my specific instrument and his impact on worldwide pan culture. My pans were built by Ellie Mannette and maintained exclusively by apprentices from his studio for the past 25 years. While I happily share that information in natural conversations, adding that information into every video may be somewhat redundant. I DO encourage my students and my audiences to learn beyond these 8 minutes. We discuss Tamboo Bamboo, Spree Simon, the impact of oil in Trinidad during WWII, the difference between pan voicing and layouts, how pans are made, what music is being played by different artists, and many other topics. I also teach them specific aspects of music, as discussed by a younger me in this video. ALL instruments have cultural heritage and origins tied into their existence, but I've never heard someone ask, "What gives you the right to play flute?" In fact - so do the culinary arts, other media, painting, sculpting, etc. At this point, I have dedicated over a decade to discovering and creating music with this beautiful instrument, and I'm just scratching the surface. I look forward to many more years of development and growing - including the cultural appreciation that comes with it. Music is a blessing, and I'm so happy to have it in my life!
@@CotePercussion My father was part of the original people that created Pan back in 30's and 40's. He never got any recognition for his contribution! I sure he's one of many!! He's still alive at 92 years and helps me in teaching his great grandchild to play the instrument! Not everyone in an Art form get's there respect!!!
@@judylawrence1604 thank you for sharing! There are many of us who appreciate the unsung heroes! Every step that every original panman took along the way has paved the path for all of us to be able to enjoy this music and culture. In my case, I appreciate enjoying as both a listener AND as a pannist.
![[UNCUT] The Loyal Pin ปิ่นภักดิ์ EP.6 (1/4)](http://i.ytimg.com/vi/m05kZ2GDKXg/mqdefault.jpg)
I like how people are enjoying this kaiso classic MaryAnn. In case you’re interested the calypso is about a girl with a robust sexual appetite ( all day all night Miss Maryann, down by the seaside she sifting sand). By the way, “strings from a banjo” refers to her genital hair; “water from the ocean” refers to sexual climax...
Calypsos are written with double meanings, so unless you’re familiar with the local slangs, you’ll think it’s an innocent composition.
It's even more innocent when it's an instrumental version :-)
InstaBlaster...
Now all I need is a steal pan
This is really nice and informative you have helped me a lot thanks🎼🎶.
Thank you for this video 💯💯
thanks for you video!
You're welcome! Thanks for watching!
I love how your chord additions sound! But I am having a hard time deciphering the theory you used? For example the first 3 notes were A4, C5, F4. You translated that into A4+F4, C5+A4, F4+C4. Based on the triads you mentioned I would have guessed instead of C5+A4 it would be C5+E5 (third up from c chord). And instead of F4+C4 it would be F4+A4 (third up from f chord). Im just getting into theory so just trying to make sense of things :)
Hi Ryan! Great questions, and thanks for helping me pay attention! The simple answer is: I made choices that sound and feel good to me. For more in depth, feel free to keep reading...
I think where it actually doesn't line up is the 2nd time I play F4+A4 together, because that's over a C7 chord. But the A4 in the melody is so short, it can be analyzed as a "non-chord tone" that quickly settles into a G. There are several pieces to answer this question.
1) Non-chord tones are allowed in melody and/or harmony. These "abnormalities" to theory are actually what keeps music interesting. Remember, theory comes from music more than music comes from theory. Music that breaks rules usually stands the test of time because it's changing theoretical practice. Bach broke rules, and then his practices created the standard for the rules we now associate with theory.
2) I'm keeping the melody on top of the chord. Our ears pick up the outer voices (soprano and bass voices, and in the case of pan music, lead/tenor pan and bass) more than the inside voices, although the "crunchy" sounds draw plenty of attention, too. So the first phrase of the song uses the melody: A4, C5, F4, A4, A4, G4, Bb4. Those notes generally stay on top. The chords don't change quite as fast as the melody, so the two chords I usually hear under that melody are F Major (under the melody notes A, C ,F, A) and C7 Dominant (under the second A, G, Bb). Putting the E5 on top would take away from the melody being on top, so if I were to use the E, I could use E4 instead of E5.
3) What I played SOUNDS good to me, and as a performer, the sound is more important than the theory. That certainly doesn't help learners who are coming here to figure out "Basic Harmony" on pan, which is the title of the video. But the specific sound of pan has a certain resonance that can make or break subsequent notes within a passage. When I hit an F, and then move to an E to match the C chord, the F is still ringing, and then I get two pitches that clash. Staying on the F is sometimes more peaceful to my ears. I CAN move to the E, and I have moved to the E on occasion. But the F is just a comfortable choice for me to play, listen to, feel, etc.
4) Ultimately, sometimes we play not only what sounds good, but what FEELS good - especially on physical instruments that require agility (movement across the pan, for example).
I hope this gives insight on WHY I made the choice I made. Either way, we can default to: ENJOY MAKING MUSIC! It's a treasure no matter how you dig in. Thanks again!
@@CotePercussion Thank you so much for the quick detailed answer! I was thinking there was a specific formula used, but it turns out it is both an art and a science. That makes things easier for some, but harder for programmer types like me :) It totally makes sense to add chords below the melody, that is a great tip. I've had a tenor pan on order for almost a year and it's arriving soon, looking forward to getting the "feel" for the instrument then.
@@agler_ I like the way you put that - "An art and a science." Just know that many musical masterminds were scientists before artists, and they had their own successes. Some people love and connect to the math of music! Follow what makes music feel right to you, and you'll connect in your own way. I'm currently waiting for my next instrument, too! It'll be extra special when it shows up! Have a blast with it!
Correct me if I'm wrong but the very first note you show in notation to be an F when it's actually an A.
Hey Dan you're 100% accurate. Good catch! It's happens in the 3rd phrase, too. These D.I.Y. projects take a lot of production time, and things slip through the cracks when I'm tired! There's probably not a way to fix this once it's uploaded, but I'm shocked nobody noticed for over 6 years haha. Sorry about the mistakes!
At 15 seconds in the video you do a nice descending run. Could you tell us what that sequence of notes was?
Great question! It's based on the top of an F scale, with a sequential lick that kind of just "waterfalls" down the scale in groups of 4 notes: F, E, D, C, D, C, Bb, A, Bb, A, G and skips down to end on the low C to start the next phrase. You can practice these types of scale pattern exercises from the bottom or top (or middle) of the scale by doing 3 or 4 notes at a time and looping back. For example, the opposite pattern (from the bottom up) would be:
F G A F + G A Bb G + A Bb C A + Bb C D Bb + C D E C + D E F D + E F G E + F.
What exactly is the name of the song @4:45
Mary Ann (Maryanne/Marianne/etc) by Roaring Lion. While there's no copyright date on the record, I think the link below is the original recording. I've read that the song was debuted at Carnaval in 1945. th-cam.com/video/AGjqNGJYaPw/w-d-xo.html
CotePercussion I learnt it just from your video (loved the angle) I could see everything
CotePercussion could you post more videos playing more recent songs
@@patrice1810 if you have Facebook, I've been posting concerts from our Panoramic View band page at www.Facebook.com/PanoramicViewBand
I caught hell for playing Irish music and listening to it how is it you’re able to play an instrument without giving Homage to the creators of this instrument first and foremost. And why is it OK that you’re playing an instrument that is not native to your culture and you don’t catch Hell
Thank you for asking. First and foremost, I'm sorry that happened to you, and I wish you courage to push beyond others' negativity. I hope you pursue Irish music and whatever music builds bridges between cultural learning and understanding as you enjoy art created by other cultures. As humans, sharing in the joy of a culture should include paying homage to it. Steel pan is one of the exports of Trinidadian culture, and as an export, it is enjoyed by many worldwide. Part of my enjoyment is not just listening, but also creating and exploring music as a player - which deepens my understanding of how and why steel pan matters to more than a single culture. At live performances, I frequently display the instrument, discuss the origins of the instrument, and also the builder of my specific instrument and his impact on worldwide pan culture. My pans were built by Ellie Mannette and maintained exclusively by apprentices from his studio for the past 25 years. While I happily share that information in natural conversations, adding that information into every video may be somewhat redundant. I DO encourage my students and my audiences to learn beyond these 8 minutes. We discuss Tamboo Bamboo, Spree Simon, the impact of oil in Trinidad during WWII, the difference between pan voicing and layouts, how pans are made, what music is being played by different artists, and many other topics. I also teach them specific aspects of music, as discussed by a younger me in this video. ALL instruments have cultural heritage and origins tied into their existence, but I've never heard someone ask, "What gives you the right to play flute?" In fact - so do the culinary arts, other media, painting, sculpting, etc. At this point, I have dedicated over a decade to discovering and creating music with this beautiful instrument, and I'm just scratching the surface. I look forward to many more years of development and growing - including the cultural appreciation that comes with it. Music is a blessing, and I'm so happy to have it in my life!
@@CotePercussion My father was part of the original people that created Pan back in 30's and 40's. He never got any recognition for his contribution! I sure he's one of many!! He's still alive at 92 years and helps me in teaching his great grandchild to play the instrument! Not everyone in an Art form get's there respect!!!
I am using your recording to teach him how to play the Pan!
@@judylawrence1604 thank you for sharing! There are many of us who appreciate the unsung heroes! Every step that every original panman took along the way has paved the path for all of us to be able to enjoy this music and culture. In my case, I appreciate enjoying as both a listener AND as a pannist.
oh hush nah 🙄 we in Trinidad are HAPPY that he is playing our instrument. Stop trying to act offended on our behalf