KaisoScript Musical Draft PDF

Contents
Foreword by Errol Ince

Introduction
Fundamentals of Music
About the artiste Emrol Phillip aka Bro Valentino
Life is a Stage lyrics and musical score
True Opposition lyrics and musical score
Stay Up Zimbabwe lyrics and musical score
Birds That Fly High lyrics and musical score
About the artiste Samuel Abraham aka Brigo

Limbo Break lyrics and musical score
Doh Beat Mama Popo lyrics and musical score
Voodoo Man lyrics and musical score
Walking in The Dark lyrics and musical score
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67
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43
47
Foreword
Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword
Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword Foreword
Foreword Foreword
Music
Defining music
I suoopose that a book about learning to read and

play music is challenging to create because there is so
musch information available in prionted form and online that one can access to start their musical journey.
More importantly creating
text/workbook when there
er foreign books available
in what they offer the
a locally produced
are so many othand are pretty good
prospective student.
So why do we create a music book? Well to answer that

let me pose a question should we develop our skills
and capability as a nation state to create works of art or
should we use the foreign made because it is cheaper?
The answer to that question goes to the core of our
being a nation state, which is are we willing to embark on the long journey of national developement
or are we willing to sacrifice development because
foreign made may appear cheaper and feature rich.
National development assumes that we all work
towards the common good of the nation state.
As a divirse nation, our history indicates that we
tend to work in our groups interest at the expense
of national development. although at times group
interest may coincide with national development.
What common ground platform is there for all

groups to stand on to facilitate national development. Culture, and in particular Music and the arts.
if we are to define Music using a dictionary definition it is a noun and has several applications
1. an art of sound in time that expresses ideas
and emotions in significant forms through the elements of rhythm, melody, harmony, and color.
2. the tones or sounds employed, occurring in single line
(melody) or multiple lines (harmony), and sounded or to
be sounded by one or more voices or instruments, or both.
3. musical work or compositions for singing or playing.
4. the written or printed score of a musical composition.
5.
such
scores
collectively.
6.
ny
sweet,
pleasing,
or
harmonious
sounds or sound: the music of the waves.
7. appreciation of or responsiveness to musical
sounds or harmonies: Music was in his very soul.
Introduction
The purpose of this book is to teach the student the fundamentals of music and an introduction to playing music. It is applicable for persons wishing to most musical instruments including the paino, wind intruments, and
string instruments etc. To this end the book begins with the fundamentals of music and the musical structure.
Learning to play music is very interesting because it can be approached from two different perspectives or you
can add a third.
The first is talent - some persons are born with exceptional talent who can do some things naturally or with
ease. To those individuals their talent should be recognised early so that relevant and appropriate training be
designed for them which takes into consideration their natural abilities. This discussion should take place with
the music director, the individual and their parent so that a collaborative approach can be adopted to cultivate
the necessary discipline in attaing advance musical skills.
The second is like - persons who like an instrument but may not have a particular talent to play the instrument.
This is always tricky because some great inventors and musicians may not have started off initially in that
area but over time acquired the skill and became accomplished musicians. What is important is the individual
diligence and discipline to apply themselves to learn and master the instrument.
Then there is the individual whose paents has an interest in the child learning a musical instrument. Training
for this individual can be superficial to assess the individual interest, and or passion for any of the instruments.
For any of the above scenarios this music book is applicable it provides a base understanding of musical fundamentals for the individual to determine their next step.
What is interesting about is that it uses local music material for the practice exercises. The hope is that build a
stronger and greater understanding for and appreciation of our cultural identity
We begin with an introduction of notes and rests

NOTES
Whole
half
quarter
eight
thirty
second
sixteenth
sixty
fourth
RESTS
Whole
half
quarter
eight
sixteenth
thirty
second
sixty
fourth
NOTE TREE
What is a note tree?
This identify the different notes used in music
Comparative values of Notes and Rests
Name
Notes
Rests
Equivalents
Whole note
Two Half notes
Half note
Two Quarter notes
Quarter note
Two Eight notes
Eight note
Two Sixteenth notes
Sixteenth note
Two Thirty second notes
Thirty second note
Two Sixty-fourth notes
Sixty fourth note

Two One hundred twenty-

eighth notes
Time Signatures
are and their
meaning
4
4
Time signatures are written in the form of fractions
2 3
4 4
4
4
3 6 9
8 8 8
The numerator of the fraction indicates the number of beats to the measure, while the denominator refers to
the kind of note used in a beat.
Thus
3
8
numerator means 3 beats to the measure

denominator means a beat to each eighth note
Signature
C or
4
4
C or
2
2
2
4
Three beats to each measure

a beat to each eighth note or its equivalent
3
4
3
8
6
8
9
8
Measures
Meaning;
Number of beats
to the measuer
Kind of note
entitled to a beat
quarter
half
quarter
quarter eight
eighth
eighth
Condensed Rudiments of Music

Question : What are the four principal characters
used in writing or printing music
Answer: The Staff, clefs, notes, and rests
Question: What is the staff and of what is it composed?
Answer: It is a combination of lines and spaces upon
which notes and rests arte placed, and it is composed
of five parallel lines and the six spaces between ,
above and below them
Answer: Rests are characters indicating silence,

corresponding in value to the notes previously mentioned. Seven of them are used;
Whole rest
Half rest
Quarter rest
Eighth rest
Sixteenth rest
Thirty second rest
Sixty fourth rest

Question: How do notes indicate various musical
sounds?
Answer: Notes indicate various musical sounds by
their appearance in different positions on the staff.
Question: What are clefs and how many are in general use?
Answer: Clefs are characters which determine the
position of notes.
Two are in general use,the treble or G clef and the
bass or F clef
Question: What are the names of the notes used in

the treble and bass clefs?
Answer:
Question: What instruments use the treble clef?

Answer: Violin, flute, oboe, saxaphone, clarinet,
cornet, alto, mandolin, guitar, banjo, and sometimes
baritone and trombone.
E
Question: What instruments use the bass clef?

Answer: Basses, baritone, trombone, bassoon, etc
Eighth note
Sixteenth note
Thirty Second note
Spaces
Question:
The
staff
with its lines and
E
A
G
C
D
G
F A
B
spaces
represents only
a limited number of sounds. are not more necessary,
and if so, how are they represented?
Answer: The range of musical sounds is so great in
comparison to the limited compass of the staff that
additions are frequently necessary, both above and
below it. These positions are termed leger lines and
added spaces. By their use, it is possible to represent
any musical sound, however high or low in pitch it
may be. look at the example below with the treble
clef and the bass
Sixty fourth note

Question: What are
general use?
Lines
Question: What are notes and how many are in general use?
Answer: Notes are characters representing musical
sounds of various lengths of which there are seven
commonly used as follows
Whole note
Half note
Quarter note
Spaces
Lines
rests are how many are in
Lines
Bass Clef
Treble Clef
Spaces
D
Question: What is the bar and double bar? Where

used?.
Question: When a strain of music is to be repeated,

how is this indicated?
Answer: The bar divides music into measures and

the double bar appears at the close of every strain
Answer: By a repeat bar, formed like this
In
case the following strain also repeats the form is
Question: Give an illustration of the staff treble clef with characters thus far mentioned
appearing in their proper places
Whole note
Whole rest
sixteenth note
sixteenth rest
quarter note
half note
quarter rest
half rest
thirty second note
thirty second rest
10
eight note
eight rest
sixty fourth note
sixty fourth
Question: What is a sharp?

Answer: A character used to raise the pitch of a given
sound one half-step
(
#)
One halfstep higher
lower figure the kind or variety of note employed.

Thus signifies that six eight notes or their equivalent
in time value are to be found in each measure of the
6 movement.
Question: How many scales are in ordinary use

and what are their names?
Answer: Ten
Question: What is a flat?

Answer: A character used to lower the pitch of a
given sound by one half-step
C - no sharps or flats
G - one sharp (f)
D - two sharps (f and c)
A - three sharps (f, c, g)
E - four sharps (f, c, d, g)
F - one flat (b)
B flat - two flats
One halfstep lower
Question: What is a natural?

Answer: A characterused for the purpose of neutralizing the effect of a previous sharp or flat
#
Question: What are accidentals?
Answer: Sharps, flats, or naturals occuring in a piece
of music, other than those found in the signature.
Question: What is a signature?
Answer: There are two kinds of signatures - the Key
Signature which is the sharps or flats placed at the
beginning of a piece of music to denote the key in
which it is written and the Time Signature which immediately follows the other to indicate the movement
and which appears in the form of a fraction as
2 2 3 4 6
2 4 4 4 8
Question: What
do these
figures indicate?
Answer: The upper figure indicates the number of
notes (or their equivalent) in each measure and the
11
About the artiste
Slinger Francisco aka

Mighty Sparrow
By Carol Quash
Bro Valentino
He has graced the Dimanche Gras stage as a finalist a number
of times, but somehow the coveted Calypso Monarch title has
always managed to elude him. Despite this, though, he continues
to press on because he believes his contribution to calypso is
necessary to build and maintain social and political consciousness among members of the public.
Anthony Emrold, more popularly known as Brother Valentino, is
genteel, but the sting in his matter-of-fact words when performing onstage are certainly not ephemeral. Words he penned, some
decades ago, that have been forever etched in the art form that is
calypso. So much so that his career as a calypsonian was examined and immortalized in 2011 with the publication of the book
The Man Behind the Music, written by Zeno Obi Constance.
Emrold was born in Cherry Hill, Grenada in 1941 and moved to
T&T at the age of five.
Before he found his niche as a composer and singer, he worked
in a printery, then as an electrician, a mechanic, and eventually a
tailor. It was his having to listen to calypso on the radio all day in
the tailor shop that led him to his calling.
I have been composing calypso for sixty plus years. I write my
own songs because what I want to say I dont want anyone else
saying it for me, he explains.
The first song I wrote was Women and Money, he recalls with
a smile. It was sung by the late Leroy Mighty Conqueror Paul.
His most recent composition is Constitutional Reform, which
qualified him for this years Calypso Monarch semi finals.
But among the many compositions that were inspired between
the first and the last, there are a few that stand out. The immutable Life is a stage (1972), the thought-provoking Where did
kaiso went (2004), the controversial True opposition, the legendary Calypso in trouble (1992) and the indelible Birds that fly
high (1982), he says, all tell stories that seem to stand the test of
time in any era. Steeped in history, the lyrics to these songs bear
stark resemblance to what happens in the here and now. But, according to Emrold, they didnt come about by chance. There is a
system involved.
I didnt just write these calypso just like that. Different people
have different methods, but for me its a process.
12
He says while some calyposnians depend on the contents of

newspapers and what takes place in the House of Parliament to
inspire them, he uses Public Relations.
I get my topics and inspiration from a vibe. I talk and listen to
people and when I get that vibe about something it becomes my
topic. I dont believe in using editorials or Parliament for inspiration. Its lazy and lacks creativity.
However, he admits, if an issue in the media is deep enough and
the people are moved enough by it he will use it. But he is still
very skeptical about doing that.
Sometimes you will find that when you depend on that source
for inspiration, after you decide on your topic you may find that
someone sang about it already.
He says what is important to him is that his topics are never
fleeting, thus ensuring that his compositions are always timeless
and relevant.
After he settles on a topic; Emrold says he has to wait for the
mood before he begins writing.
That mood brings the melody and the melody breeds the lyrics.
My compositions are usually a marriage
between melody and lyrics. But once that mood
surfaces, its usually smooth sailing from there.
Emrolds gift and the astute management skills of his wife, Peggy, has taken him around the world. But this has not made him
arrogant and he is certainly not selfish with his talent.
If someone asks me to assist with a composition I will help
where I can.
And his generosity is not limited to his fellow calypsonians. The
preservation of calypso is an important part of his cultural mission.
Im accustomed to being asked to do workshops with students,
where I teach them how to write their own songs.
The calypso icon has come a long way from when he made his
first appearance in the kaiso arena in the early 1960s at the Big
Bamboo Calypso Tent on Park Street, in Port-of-Spain. And he
intends to fight to keep the kaiso ship afloat, in an attempt to repel the cry that, Cause everyday now the people keep complaining calypso is dying slow.
Education
13
Education
Written by
Sang by
Education Education this is the foundation

Our rising population needs sound education
To be recognised anywhere you go
You got to have certificate to show
To enjoy any kind of happiness
Knowledge is the key to success
Chorus
Children go to school and learn well
Otherwise later on in life you will catch real
hell
Without an education in your head
Your whole life will be pure misery you better
off dead
But there is simply no room in this whole
wide world
For an uneducated little boy or girl
Dont allow idle companions to lead you
astray
To earn tomorrow you have to learn today
For employment yes employment
You must be intelligent
So its essential very essential
To have your credentials
But if you block headed like a mule
Remember no one will emply a fool
You will be the last to be hired
And the very first one to be fired
Illiteracy illiteracy
Is mans greatest enemy
Its your duty yes your duty
To stamp it out completely
Ignorance always in people quest
Education saves you much distress
So learn learn learn as much as you can
This nations future is in your hands
Its a treasure yes a treasure
Beyond any measure
So secure it yes, secure it
Doh ever destroy it
A said to fight lifes battles come what may
Education will light up your way
Without it youll never never never get
through
Success or failure is now up to you
Its imperative
So lets u live
Its your perogrative
Give all that you can give
14
15
16
17
About the artiste
Emrol Phillip aka

Brother Valentino
By Carol Quash
have different methods, but for me its a process.
Bro Valentino
He has graced
the Dimanche Gras stage as a finalist a number of times, but
somehow the coveted Calypso Monarch title has always managed to elude him. Despite this, though, he continues to press
on because he believes his contribution to calypso is necessary
to build and maintain social and political consciousness among
members of the public.
Anthony Emrold, more popularly known as Brother Valentino, is
genteel, but the sting in his matter-of-fact words when performing onstage are certainly not ephemeral. Words he penned, some
decades ago, that have been forever etched in the art form that is
calypso. So much so that his career as a calypsonian was examined and immortalized in 2011 with the publication of the book
The Man Behind the Music, written by Zeno Obi Constance.
Emrold was born in Cherry Hill, Grenada in 1941 and moved to
T&T at the age of five.
Before he found his niche as a composer and singer, he worked
in a printery, then as an electrician, a mechanic, and eventually a
tailor. It was his having to listen to calypso on the radio all day in
the tailor shop that led him to his calling.
I have been composing calypso for sixty plus years. I write my
own songs because what I want to say I dont want anyone else
saying it for me, he explains.
The first song I wrote was Women and Money, he recalls with
a smile. It was sung by the late Leroy Mighty Conqueror Paul.
His most recent composition is Constitutional Reform, which
qualified him for this years Calypso Monarch semi finals.
But among the many compositions that were inspired between
the first and the last, there are a few that stand out. The immutable Life is a stage (1972), the thought-provoking Where did
kaiso went (2004), the controversial True opposition, the legendary Calypso in trouble (1992) and the indelible Birds that fly
high (1982), he says, all tell stories that seem to stand the test of
time in any era. Steeped in history, the lyrics to these songs bear
stark resemblance to what happens in the here and now. But, according to Emrold, they didnt come about by chance. There is a
system involved.
I didnt just write these calypso just like that. Different people
18
He says while some calyposnians depend on the contents of

newspapers and what takes place in the House of Parliament to
inspire them, he uses Public Relations.
I get my topics and inspiration from a vibe. I talk and listen to
people and when I get that vibe about something it becomes my
topic. I dont believe in using editorials or Parliament for inspiration. Its lazy and lacks creativity.
However, he admits, if an issue in the media is deep enough and
the people are moved enough by it he will use it. But he is still
very skeptical about doing that.
Sometimes you will find that when you depend on that source
for inspiration, after you decide on your topic you may find that
someone sang about it already.
He says what is important to him is that his topics are never
fleeting, thus ensuring that his compositions are always timeless
and relevant.
After he settles on a topic; Emrold says he has to wait for the
mood before he begins writing.
That mood brings the melody and the melody breeds the lyrics.
My compositions are usually a marriage
between melody and lyrics. But once that mood
surfaces, its usually smooth sailing from there.
Emrolds gift and the astute management skills of his wife, Peggy, has taken him around the world. But this has not made him
arrogant and he is certainly not selfish with his talent.
If someone asks me to assist with a composition I will help
where I can.
And his generosity is not limited to his fellow calypsonians. The
preservation of calypso is an important part of his cultural mission.
Im accustomed to being asked to do workshops with students,
where I teach them how to write their own songs.
The calypso icon has come a long way from when he made his
first appearance in the kaiso arena in the early 1960s at the Big
Bamboo Calypso Tent on Park Street, in Port-of-Spain. And he
intends to fight to keep the kaiso ship afloat, in an attempt to repel the cry that, Cause everyday now the people keep complaining calypso is dying slow.
19
LIFE IS A STAGE
Performed by Anthony Emrold Phillip Brother Valentino
Life is a stage
And we are the actors
And everybody have a part to play
Like a never ending movie
With all different characters
Each one have a role to portray
Down to the scavengers
And them barristers
All them doctors and lawyers
And these ministers
So this honourable this
And this honourable that
And this lady so and so
Is a part all them people playing
I want you to know
So don't blame the politician
Anytime you find you get bad administration
oh No that was meant to be
The fella is playing his role superbly
Now doh't blame the judges for their injustice
While blame the criminals I say
Is a part they come out to play
Believe me friends I don't like that part at all

Plenty women go bawl when the curtain fall
Say what you want
Believe I'm not joking
The women are the greatest performers for me
Their role always important
And down to their love making
These people could win an academy
They could put you in heaven
They could put you in hell
Woman could put man places
Man would shame to tell
So then a man must want to kill
Because the part he have to play
Is to love with his heart and soul
So you see where the females always have the better role
So doh blame Christine Keeler
Just because she wreck the lives of some politicians
She played a sexy character
And she caught Porfumo with her sexy actions
So we should tip our hats to England
And say hoorah for good old Christine
The greatest actress, don't doubt, that the world has seen
This movie start

In the garden of Eden
The star and co-star was Adam and Eve
They played their part
Now they are dead but not forgotten
And when I study the role of Adam
It makes me grieve
Shows man should be able
To take example
And see from the beginning
Woman was trouble
But then your role
is according to your script I say
And your fate would be judgment day
And according to the part that you play
The master go pay
Trinidad have some scenes that I go off on

The acting is greater than on Broadway
Not even on the movie screens
You could see people perform
Like Trinidadians ah talking 'bout
And how they could play
Trinidad as we all know
Chief role is kaiso,
Then featuring playing pan
Football and the limbo
But for playing the part of smart man and smart woman
Ah could bet meh hand
And for creating a big impression is a Trinidadian
Now the ambitious guy with the jacket and tie
Who walks the road and hold up his head high
You will shock to know
Where this same ambitious fella head does go
But its ah part he come out to play
And we really cyah treat the fella with scorn
And as they say
The show must go on
Now down to the little children

From the time they born
They join Life's great movie
But some of us fathers my friend
Through some wicked women
Never saw our baby
Although abortion is just an act
20
21
22
23
24
TRUE OPPOSITION
Performed by Anthony Emrold Phillip 'Brother Valentino'
Verse 1
We have no opposition in the house of Parliament
So politically is we who have to comment bout this government
But the tune you we chanting is wrong
Yet you keep singing along
Like you join the bunch of the wrong and strong well sing your
song
But if we check where the kaiso come from
Was the black mans cry and protest
But panorama and Dimarche Gras have your heads in a mess
what ah mess
Since in the days of Atillah
Kaiso showed its true colour
Ah wonder if you people know the importance of kaiso
Verse 3
It seem as though you dont know
The precious talent that you posses
It is a gift more valuable than all the rest, oh yes
The attention you gain from this nation is beyond any politician
So dont forget you are the true true opposition in this land
Yet you feeding the people minds
With the same set ah backside jive
And the real vintage kaiso struggling to survive, that is jive
Man get up and do your duty
You will be rewarded much more highly
We have a purpose and a reason
So we should all sing in unison
It is we who really voice aye
The voice in this land
The calypsonian is the only true opposition
As sure as calypso is the culture of this land

Verse 2
So open you mouths my brothers
And speak with a righteous tongue
Instead of putting the people on a merry go round and round
Youre are not saying the right things
Yet so much things happening
But you only want to keep them people dancing, prancing
But I know this is they last chance
So let them prance if they want to prance
Such was the joy shall be the sorrow after the dance, so let them
prance
Brothers your worth your weight in gold
Yet your precious talent people control
Youre being used for the wrong purpose
Folks are just trying to fill their purse
Verse 4
Calypsonian in this majority
You have plenty priority
You could gain high status in the society um hum
So open your mouths and say something from an opposition
aspect
A solid message from you is what the people expect
According to what you say could condemn you when judgement
time reach
So the whole emphasis is on what you teach or you preach
You should always be a peoples mouthpiece
Sing out they call for justice at least
Doh let nobody put words in your mouth
And tell you what you should sing about
Is you who really got the voice in this land
The calypsonian is the only
As sure as calypso is going through this exploitation

25
26
27
28
Stay up Zimbabwe
Lyrics by Anthony Emrold Phillip 'Brother Valentino
Verse 1
Just remember brothers - Oh ya ye!

Blood thicker than water - Oh ya yo!
Stay up Zimbabwe - Oh ya ye!
Stay up Zimbabwe - Oh ya yo!
' Woe be on to Rhodesia!

Woe be on to South Africa!
You pushing my back against the wall
Ah calling the tribes of Hannibal
I man decide to put on his boots
And march to defend his roots
Verse 3
I hear the talk that America
Supporting white South Africa
But if we have to wuk voodoo
My people shouting Uhuru
Sound the drums and summon the witch doctors
To deal with those weird characters
Chorus
Calling them Ju Ju - Oh ya ye!
Calling them Zulu - Oh ya yo!
Showing Ashanti - Oh ya ye!
Calling Watusi - Oh ya yo!
In South Africa and Rhodesia - Oh ya ye!
Blood go run like water - Oh ya yo!
Prepare my brothers - Oh ya ye!
For the bloody River - Oh ya yo!
Chorus
Verse 2
I know this fight won't be so easy
But you got to get rid of the enemy
If you don't get rid of the enemy
The enemy shall get rid of thee
My people you see we have no choice
So Africans hear my voice
Verse 4
I pay homage to Steve Biko
And the children who died in Soweto
To the Freedom Fighters I declare
Africans affair is my affair
Ian Smith and Vorster got to go
The Revolution say so
Chorus
Chorus
29
30
31
32
BIRDS THAT FLY HIGH

By Brother Valentino
Verse 1
So you belong to the ivory tower
I say, this ivory tower of power
The material world makes you feel superior
So then you look down with scorn at your brother
But your flying space is getting very narrow
Soon you won't be able to resist the arrow.
Verse 3
You remind me a lot of the vultures
Flying in your private jets and helicopters
At the expense of the poor, you build your castle
After using us, you're giving us the hassle
You feel you are so protected up in orbit
You don't know you are just another flying target.
Chorus
Birds that fly high, none of them ever touch Jah sky
Birds that fly high got to fly back down to die
So flap your wings and fly, you could never touch Jah sky
And don't care how high you fly, you got to fly back down to die
Birds that fly high, got to fly back down to die.
Chorus
Verse 2
Politics and politicians is the problem
Power and corruption stands behind them
They create a dirty, middle class society
Within that circle, them control all the money
If they could have paid their way, they'd live forever
But we all got to go six feet under.
Verse 4
Mister big man, hear the words of this song
You only creating your own damnation
You make vanity and luxury your worry
But behind that stands a very sad, sad story
What does it profit a man who owns the whole world,
And yet suffereth the loss of his own soul?
Chorus
Chorus
33
34
35
About the artiste

Samuel Abraham
aka Brigo
By Carol Quash
songs during his career.

Samuel Brigo Abraham relaxing on the Promenade.
Photo by Rhianna McKenzie
But I dont write with pen and paper eh. From ever
since. I get the song in my head and I have a tape
recorder so I record it.
He is certainly no stranger to the public.

Aye Brigo.
Brigo
Blessings Brigo.
Morning Brigo.
Brigooooo!!
All of those compositions were for him exclusively.

I never write songs for anyone. If someone asks me
to help them to write a song I will. But I will never
write it for them. Writing calypso is a skill and I
want people to put effort into it. Dont expect me to
do it for you.
Our interview in his garage at his home in Diego

Martin was interrupted at least twenty five times. I
stopped counting after that. And then again at the
photo shoot on the Brian Lara Promenade in Port of
Spain. He took the time to give a hearty response to
each greeting.
The art, he explains, takes training.

Calypso is a language. Pan is a language coming
out of calypso. Calypso is the language of the past.
Spoiler, Melody, Invader, Pretender, Small Island
Pride all knew it and I learned it from them.
Born Samuel Abraham, Brigo, as he is fondly called,

says he entered the calypso arena even before he
reached adolescence.
The first step is finding a topic.

Listening is the first education. I get my topics
through public relations, which is to say talking to
people and getting their opinions on the system and
things that are important. Especially the old folks,
because if you dont know where you come from,
forget where you going. This is the language of calypso, he muses.
I have been composing calypso since I was nine.

He describes his ability as a gift from God.
Calypso is a language. I speak that language very
well because it is the gift God gave to me. Everybody born with one you know.
But a good composition by itself doesnt carry much
weight without a great delivery. And the manner in
which Brigo delivers his compositions makes them
memorable. The contorted face and the emphasis he
places on his words are as signature of him as is his
hat.
The topic is always in the chorus to remind the

audience of the issue.
Once he fashions the lyrics to his liking, he comes up
with a suitable melody and records his piece.
That too (the hat) is a story by itself, he chuckles.
Brigos says his gift is the reason he has seen so

many places in the world.
Brigo estimates he has composed over one hundred
I have performed around the world for free out of

36
of building a cultural theatre adjacent to his home,

whereby the art of composing can be taught.
I started building it about six months ago with
pennies and farthings too. Nothing starts from one.
Everything starts from after zero. That will be my
first lesson in teaching the youths to compose. That
we must start from the gift that God lent us.
We all have to appreciate each others gifts. I will
give you an example. Take Brian Lara and me. He
have his gift and I have mine. I love and respect
how he use his and love me for mine. Its that
simple, he concludes.
my love and respect for calypso, and his songs have

been appreciated wherever he has performed.
He identifies one of his earlier compositions, Mama
Popo, as one that has maintained its relevance to
date.
When I was a child my granny didnt like how my
mother used to beat me, he recalls.
It is sad to tell you of the child days Brigo had... he
sang in nostalgia.
Those were the days when parents used to scold
you with a strap. All the things that happening in the
nation now is a legacy of bad behavior. Monkey see
monkey do, he opines.
On a lighter note, he describes another favorite, Limbo Break, as the free spirited ways in which people
express themselves in dance.
Different people do different thing when they dance.
Some go under the limbo rod, some break dance,
some dance romantically. The idea is you can choose
to do it however you want.
Brigo has begun to realize his dream of imparting his
knowledge to the nations youth. He is in the process
Samuel Brigo Abraham relaxing on the Promenade.

Photo by Rhianna McKenzie
37
38
LIMBO BREAK
Performed by Brigo
Verse 1
We coming out limbo dancing
We go break up tonight
We coming out limbo dancing
Watch we watch watch we
We come to show the world how to break to the beat

of kaiso
Join and let us do the limbo
The knee bone breaking up
The backbone breaking up
The neckbone breaking up
The jawbone breaking up
The handbone breaking up
of kaiso
We love to do the neck dance

We love to do the elbow dance
We love to do the hand dance
of kaiso
The headbone breaking up
The jawbone breaking up
The eyebone breaking up
of kaiso
Music interlude
Break (x13)
Verse 3
In Trinidad and Tobago
And the rest of the Caribbean
When coming to calypso we does break slow, just so
We love to do the back dance
We love to do the shoulder dance
We love to do the neck dance
of kaiso
Fade
Verse 2
They brought dancers from London
They said they were hard as stone
The dancers they brought to compete against we
Had to watch we and admire we
We love to do the back dance
We love to do the shoulder dance
We love to do the hand dance
39
40
41
42
DOH BEAT MAMA POPO

Performed by Brigo
It is really sad to tell yuh bout the child days that

brigo had
Yuh may say ah mad when yuh hear bout the child
days that brigo had
meh mama have five children i'm the better looking
one as you all could see
she used to beat me just as if i wasn't she soon one
day granny said to she
like yuh want tuh spoil the child beauty

yuh done make de pickney
and now yuh beating it like yuh crazy
betty ah love yuh ah lot
but he is the prettiest grand popo that i got
Chorus
doh beat mama popo
doh beat mama popo
granny tell she ah warn yuh awready
43
44
45
46
Leh meh go (Voodoo man)
Leh meh go (Voodoo man)
She gave me meh breakfast
Bacchanal in the country
Last week Saturday
Ah bawl like a cow
Ah get so delirious
Ah girl want to marry me
Ah throw it away
She want to marry now
A dog was passing the same time
She gone and did some things to me
It smelled the food and start to wine
In order that I could marry she
[CHORUS]
CHORUS
Ah man tell me
She believe in witchcraft
She ha meh name in the cemetery
She trapped me with bread
She put meh family against me, just so
The food that she gave meh
And then the man tell me
Dropped the hair from meh head
She gave me dead people bone in tea
When a man want more than one wife
She ha me tie from meh head to meh toe
For this devil woman near take my life
Doh care how ah try
[CHORUS]
Ah properly tie
Composed & sung by Samuel Brigo Abraham
Leh meh go, leh meh go, Melda!
47
48
49
50
Walking in the Dark
Hail I
Most high
Walking in the dark
Walking in the dark
Man must give praises to the most high
Jah be praised
Long as man have no respect for man

Now to me meet hell in this land
OH YEAR OPEN YUH EYE
Verse 3
When I was a fella
And meh parents send me to school
All who I meet around the corner I had to show respect as a rule
But today it got some little fella
My man they dont know their place
They would see I and you walking up and down the street and
coasting in front we face
Its time for we to live in one love

Push that love now
The time reach
Verse 1
When I was ah little fella
Growing right here in this land
I used to see the other little fella
Showing respect to the elder one
But today around the corner
All ah dat change entirely
You could imagine They bouncing yuh, squeezing yuh pushing
yuh, without saying sorry
Chorus
Like if we walking
Like if we walking
AFRICA OPEN YOUR EYES
AUSTRALIA OPEN YUH EYE
Like if we walking in the dark

Now to me to meet hell in this land
Verse 4
When I was a little fella
Right here in our land
I use to see a lot of ???????? showing respect to little children
But today it got some ?????? going to be their children downfall
Because ah lot of us just studying cash and not studying to train
we children at all
West indies open your eye

America open your eye
Verse 2
When I was ah little fella
Growing in my parents place
Just before I go to take meh supper
I had to bow and say grace
But today it got some little fellas
When yuh tell dem come and eat
They will not give thanks to the man at home neither the one
that have dem on dey feet
Chorus
Like if we walking
Like if we walking

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Contents

Foreword by Errol Ince

About the artiste Samuel Abraham aka Brigo

I suoopose that a book about learning to read and

So why do we create a music book? Well to answer that

What common ground platform is there for all

We begin with an introduction of notes and rests

Comparative values of Notes and Rests

Two Half notes

Two Quarter notes

Two Sixteenth notes

Two Thirty second notes

Thirty second note

Two Sixty-fourth notes

Sixty fourth note

Time signatures are written in the form of fractions

numerator means 3 beats to the measure

Three beats to each measure

Condensed Rudiments of Music

Answer: Rests are characters indicating silence,

Thirty second rest

Sixty fourth rest

Question: What are the names of the notes used in

Question: What instruments use the treble clef?

Question: What instruments use the bass clef?

Thirty Second note

Sixty fourth note

rests are how many are in

Question: What is the bar and double bar? Where

Question: When a strain of music is to be repeated,

Answer: The bar divides music into measures and

Answer: By a repeat bar, formed like this

thirty second note

thirty second rest

sixty fourth note

Question: What is a sharp?

One halfstep higher

lower figure the kind or variety of note employed.

Question: How many scales are in ordinary use

Question: What is a flat?

One halfstep lower

Question: What is a natural?

About the artiste

Slinger Francisco aka

He says while some calyposnians depend on the contents of

Education Education this is the foundation

About the artiste

Emrol Phillip aka

have different methods, but for me its a process.

He says while some calyposnians depend on the contents of

Believe me friends I don't like that part at all

This movie start

Trinidad have some scenes that I go off on

Now down to the little children

As sure as calypso is the culture of this land

As sure as calypso is going through this exploitation

Just remember brothers - Oh ya ye!

' Woe be on to Rhodesia!

BIRDS THAT FLY HIGH

About the artiste

songs during his career.

He is certainly no stranger to the public.

All of those compositions were for him exclusively.

Our interview in his garage at his home in Diego

The art, he explains, takes training.

Born Samuel Abraham, Brigo, as he is fondly called,