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Four Lara Four |
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| Calypso |
Four Lara Four |
| Composer |
Winston
Scarborough (de Fosto) |
Calypsonian |
de
Fosto |
| Publisher |
Sanch Music |
| Orchestra |
Amoco Renegades led by Lennard Patrick |
| Arranger |
Jit
Samaroo |
| Musicians |
34
Tenors, 6 Double-tenors, 16 Double-seconds, 6 Double-guitars, 7 Triple-cellos,
8 Four-cellos, 5 Quadrophonics, 4 Four-tenor basses, 6 Six-tenor basses,
6 Six-basses, 4 Nine-basses, 18 Rhythm section. Total 120 |
Recording
date |
24/25
February 1995. 10.00pm - 3.30am. Venue |
| Panyard |
138
Charlotte Street, Port of Spain, Trinidad |
| Engineer |
Simeon L. Sandiford |
| REAL
TIME |
MUSICAL
STATUS |
| 0:00 |
Panyard
ambience |
| 0:03
|
Jit
signals the players. You should be able to hear him say, "We going"
at |
| 0:05 |
He
is approximately 15 metres from the microhpones, literally in the "engine |
| 0:07 |
"Count"
and introduction in B flat |
| 0:42
|
Chromatic
solo |
| 0:51 |
Verse.
Frontline Pans play the melody. Cellos and Four pans play counter |
| 1:21 |
Chorus |
| 1:50 |
Motivic
riff |
| 2:00 |
First
variation on verse. Cellos play melody |
| 2:16 |
Basses
play melody |
| 2:24 |
First
variation! On chorus. Tenors and cellos in "conversation". |
| 2:31 |
Tenors
take lead |
| 2:59 |
Shango/Zouk
"jam". Bongos play Shango rhythm while the other percussion
plays Zouk rhythm |
| 3:23 |
"Bridge"
to change to second key, D |
| 3:27 |
Second
variation on first half of verse. Tenors play one part, Double-tenors
and |
| 3:43 |
Third
variation on verse. Double-seconds solo |
| 4:12 |
Fourth
variation on first half of verse. Tenors, Double-tenors and Double-seconds
play a three-part harmony |
| 4:25 |
Unison
passage |
| 4:36 |
Continuation
of Three-part harmony |
| 4:43 |
Second
variation on chorus. Cellos solo |
| 5:11 |
Fifth
variation on verse. Basses solo |
| 5:40 |
"Bridge"
to change to Third key, E minor |
| 5:43 |
Verse.
Front line pans play melody, Cellos and four pans play counter melody |
| 6:12 |
Third
variation on chorus. Tenors take lead. Latin rhythm |
| 6:28 |
Jam |
| 6:42 |
Basses
take lead in "conversation" with Tenors and Rhythm Section |
| 7:05 |
Crescendo |
| 7:13 |
Crescendo |
| 7:16 |
"Bridge"
to change to fourth key, G |
| 7:18 |
Sixth
variation on verse. Tenors solo |
| 7:47 |
Modulation |
| 7:49 |
Fourth
variation on chorus. Tenors solo |
| 8:16 |
Percussion
jam. |
| 8:27 |
Jam
continues with Bongos and Frontline pans
in "conversation" |
| 8:35 |
Bridge"
to change back to original key, B flat |
| 8:40 |
Verse |
| 9:07 |
Chorus |
| 9:37 |
Repeat
second half of chorus |
| 9:42 |
Jam |
| 10:16 |
Finale |
|
|
|
NOTES: 1) At 0.07 sees, Jit strikes the side of one of the pans with his baton initiating a playing speed of 126 beats per minute. This is known in steelband language as the "count".
2) The percussion "jam" at 8.16 is evocative of a street scene where
Trinidadians beat anything rhythmically while celebrating some event. In the
early days of steelband development, dustbins and biscuit tins were used to
form a crude two-note bass pan called a "duddup". In this case,
Jit symbolizes a jubilant crowd at the Queen's Park Oval cheering on their
cricketing hero, Brian Lara. He uses two notes on the basses, G and B to mimic
the "duddup". It is one of the highlights of the piece, which the
band took almost four hours to learn and perfect
3) Preparation time 6-8 weeks.
© 1995 Simeon L. Sandiford, Jit Samaroo
| Simeon
L. Sandiford 23 King Street, St Joseph, Trinidad, West Indies Tel: 868.663.1384 Fax: 868.645.2205 Contact us here |
 |
