An easy-to-understand beginner's approach to pan flute or pan pipe. the pan flute is a set of vertical pipes, stopped at the bottom, played by blowing across the top in a manner similar to playing flute. the approach in this book is directed toward the beginning player, but also is designed to allow more advanced players to expand their technique. It includes 79 folk tunes from many nations, classical melodies and carols, a short introduction to the development of the instrument, basic to tone bending. Requires a range of 14 pipes in the key of C major, starting from G.

Conversations in Pan was fun to write. The idea came to me after I lost a job that I loved, and, which gave me financial stability. My life went into a free fall. So to save my sanity and to try to find my direction again, I turned to one of my special and sacred gifts, writing poetry. This book grounded me. The process of writing about an instrument that I love gave me purpose, determination, discipline. It took me out of the depths of despair and forced me to reaffirm my faith in God. I learned so much while writing these poems. God also placed some special people in my life. Had I not lost that job, our paths would have never crossed. A whole new world had opened up to me in writing and completing this book. I am so much richer for it. Rich in spirit, in sound friendship, mentally able and stable to accomplish and conquer all! The friends I have gained when this opportunity presented itself will be in my life forever. They have made me a much better individual. Thank you! May the Almighty bless you with grace, mercy, and favor! The purpose of this book is to enlighten, entertain, and educate using my poetic voice and platform. To introduce to some and expand to others, showing how poetry can be incorporated into a culture that is rich, vibrant, and unique; the world of the Steelpan.

A symbol of Trinidadian culture, the steelband has made an extraordinary transformation since its origins-from junk metal to steel orchestra, and from disparaged underclass pastime to Trinidad and Tobago's national instrument. Now, Shannon Dudley gives the first discerning look at the musical thinking that ignited this transformation, and the way it articulates with Afro-Trinidadian tradition, carnival, colonial authority, and nationalist politics. Music from behind the Bridge tells the story of the steelband from the point of view of musicians who overcame disadvantages of poverty and prejudice with their extraordinary ambition. Literally referring to the poor neighborhoods nestled in the hills bordering Port of Spain to the East, "Behind the Bridge" is also a metaphor for conditions of social disadvantage and cultural resistance that shaped the steelband movement in the various Afro-Trinidadian communities where it first took root. The book further explores the implications of the steelband's "nationalization" in post-independence Trinidad and Tobago, and contemporary steelband musicians' preoccupation with the formally adjudicated annual Panorama competition. In discussing the intersection of musical thinking, festivity, and politics, this book connects important questions about the history of the steelband to general questions about the relation between popular culture and nationalism.