Arranging Hymns for Steelband:

A Beginner’s Guide

There are many sources from which steelband music can originate but the process of adapting hymns (or any sacred music for that matter) for the steelpan is called “arranging” in the Caribbean. The steelpan arranger does one of two things depending on the type of music he/she is asked to arrange. (1) adapts or transcribes a piece of music (i.e. usually not originally composed for steelpan) or (2) arranges a piece of music for a single steelpan or steelband.  

Traditionally, some Caribbean-based steelpan arrangers are musically literate while others are not, and formal training in western music notation nor lack of steelband-specific knowledge should not dissuade the prospective North American church musician from trying their hand at arranging for steelpan or steelband. Culturally, the traditional Caribbean method of teaching music to steelbands is part of the fascinating history and development of this artform. As steelpan development gradually moved from rhythmic “unintentionally” pitched metal beating to “intentionally” and chromatically pitched instruments during the first half of the twentieth century, the possibilities of performing all types of musical genres were at the fingertips of these early steelpan players. These steelpan pioneers became experienced in the art of adapting and arranging popular songs by ear and teaching by rote. From the beginning, however, Caribbean steelbands often called on trained musicians to assist arrangers with classical music, thus bridging the two musical traditions.

The Roles and Functions of the Steelpan Family

When arranging music for the steelpan or steelband arrangers must have an idea of the roles and functions of each instrument in the steelpan family. Like arranging for any musical ensemble, a good steelband arranger observes how the different families of instruments work together to form one homogeneous ensemble. The steelpan is a non-transposing instrument in that when it reads and plays C, the pitch C is sounded. The following is a typical breakdown (including descriptions and ranges) of the steelpan family:

Melody Steelpans: includes those who read treble clef (tenor, double tenor, and seconds).

Harmony Steelpans: includes those who read treble and/or bass clef (double seconds, cello).

Bass Steelpans: includes those who read bass clef (cello and bass).

Tenor/Lead

The tenor (T) player usually is given the melody with a single melodic line, though occasional double stops (two notes played simultaneously) are common. The tenor player is expected to play melodies, complicated runs, and often improvises over chord changes if given the opportunity. The tenor player reads in treble clef and is often compared to the first violin player of an orchestra. Over the years the tenor steelpan has been called several things: ping pong, lead, and the soprano pan. Lead is the most common name for the tenor steelpan. There are several well-known note design or layouts for tenor steelpans and the instrument is sometimes referred to by these models: spider web, Invaders pan, 4ths and 5ths pan, 3rds and 4ths pan, etc.

Double Tenor

Double tenor (DT) players have to be able to move between two steelpans very rapidly. Their role in the steelband are numerous. They can double melodies down an octave from the tenor or strum chords. Double Tenor steelpans usually add harmony to the melody and are frequently expected to play harmonic double stops in conjunction with the melody and weave in between melody, harmony, and strumming. The double tenor player is often compared to the second violin player of an orchestra. While the double tenor is a common steelpan voice in Caribbean steelbands, the double tenor is NOT as common in the United States and many steelbands omit them entirely.

Double second

Double Second (DS or 2nds) players can play the melody down an octave, play harmony to the melody, and strum chord changes. When strumming they are usually given guide-tones (3rd and 7th of a chord) and perform on note ranges that are under the melody. When they are not strumming, they can perform countermelodies and/or soloistic passages. The double seconds player has to be able to move between two steelpans comfortably. The double second player is often compared to the first viola player of an orchestra. The lower notes on the seconds are written in treble clef with ledger lines below the staff.

Triple Cello

The cellos steelpan (C) player plays a set of three steelpans, read bass clef, and use ledger lines for their higher notes. They act like the cello section of the orchestra. Sometimes cellos play counter melodies, are used for melodic variations, perform ostinatos, and even strum or arpeggiate chord changes. Assigning more open voicings as strumming pitches allows the instrument to sound cleaner in the lower register.

Six Bass

The main role of the bass is to provide the bottom, or the fundamental harmony of the chord structure as well as groove/ostinato. The fundamental rhythmic character of the bass will help establish the style of music being performed. Unlike other instruments which perform two different pitches simultaneously, in more complicated rhythms; the bass normally performs the root and fifth of the chord in octaves when physically possible. The bass may provide some melodic punches or “step wise walking” but quickly slips back into its functional harmony/figured bass role in the stylistic manner of the tune.

Instrument Standards

The Caribbean, led by Trinidad and Tobago, boasts the highest concentration of steelpan makers and steelbands in the world and thus sees the largest variety of steelpan instruments among its numerous traditional and conventional steelbands. The note pattern layouts of steelpans often fluctuate from builder to builder in the Caribbean, therefore causing the variety of note ranges and manners by which the instruments are positioned and hung. Consequently, standardisation of steelpan instruments is not a strong point of these islands. However, in North America steelpans are becoming more standardised simply because their sources of procuring instruments are fewer and pedagogical standards in primary schools, secondary schools, colleges, and university steelband programs demand a level of conformity. For the sake of the Church Steelpan Project, we recommend arrangers utilize the four primary steelpan voices (Lead, Double Second, Triple Cello, Bass) for their arranging endeavours.

Other General Considerations for Steelband Arranging

Dynamics, accents, and rolls are all performance articulations. Dynamics can be controlled by playing louder or softer, or by adjusting the balance of the number of players or sections playing a specific part. Stressing one note louder than the surrounding notes creates Accents. Accents are created by playing a note with more physical force. Rolls on the steelpan are very rapid single strokes. Rolls elongate a note value and can be used to create tension and release when dynamics are also added to the rolls. Notate these as you would tympani in the western tradition.

Strumming

“Strumming” is the act of rhythmically sustaining two notes (double stopped) of a chord creating a harmonic energy. In the steelband setting, the strumming pattern is usually threefold: upper strum (double stopped), lower strum (double stopped) with a stylistic bass on single notes. The strum is often rhythmically layered according to the tempo, style, and personal taste of the arranger and musical needs of the performance/context. Historically, the rhythmic strumming patterns found in steelpan arrangements of calypso are comprised of many layers of polyrhythms. These strumming patterns can be traced to Africa through local Shango drumming and western folk-like string instruments, such as the guitar (quatro), which stylistically weaves between performing a melodic line with rhythmic chord changes as an accompaniment.

An example of the three layers of “strumming” in steelband arrangements is demonstrated to the right; however, see the links for sample charts for other score examples of strumming.

All strum patterns are interlocking patterns with cross-rhythms and polyrhythms that create an intricate syncopation. The upper strum is generally busier and involves the treble clef instruments. The upper steelpan voice often performs more of the guide tones (like 3rd, 7th) in closer intervals. The lower steelpans in bass clef are often (but not always) a little less rhythmically complicated than the upper strummers. The intervals they strum are often more open. The basses provide the fundamental root and fifth with an occasional running line. Their rhythmic pattern determines the stylistic characteristics of the arrangement (e.g. soca, calypso). Generally, the faster the tempo, the less rhythmically complicated the strumming pattern; the slower the tempo, the more rhythmically complicated the strumming patterns could be for the arrangement. Of course, these are only general guidelines and church steelband arrangers should feel free to use simple or progressively complicated strumming patterns as they see fit. See “Teaching Methods” section of this website for examples of the most common strumming rhythms found in steelband arranging.

Engine Room

The “Engine Room” refers to the percussion section of the steelband. This includes the drumset/traps, iron, congas, scratcher, timbales, chac chac, cowbell, tambourine, etc. Engine Room parts are often NOT notated in score form and are simply added to the texture of the arrangement depending on performance context and available players. In the worship service setting, the Engine Room offers low risk opportunities for congregation members to participate in the steelband, especially when lack of steelpans or lack of preparation present boundaries.  

The drumset part is written on the last staff of a score at the very bottom. One should use a percussion clef on a five-line staff.

Although there is no formal order to the legend or key that maps out what is what, the following is suggested: The hands should be written stems up and the feet with stems down if possible.

The beat is sometimes written out followed by a simple style indication. Slashes indicate measures in time, rests are for stops, cues are for ensemble or section kicks, and the word fill for a brief ad lib solo in time.

A Note of Gratitude

The above arranging guide is adapted with permission from arranging materials created by Dr. Jeannine Remy, Senior Lecturer in Music, University of the West Indies—St. Augustine, Trinidad.