Teen Steelpan Player Finds Mentors, Inspiration at Berklee Summer Program

Alida McKeon, a young steelplan player, talks about her experience in the Berklee summer programs. 

September 24, 2014

The steelpan, a Caribbean instrument often heard in calypso songs, isn't the typical instrument an American middle-schooler would pick up, or even have access to. But Alida McKeon did, and as a result she is among the relatively small number of young steelpan players in the U.S. She came to Berklee, one of the few music schools to offer steelpan as a principal instrument, this summer to improve her playing. We sat down with McKeon to talk about her experience. 

How, when, and why did you begin playing steelpan, and how did you learn to play it?

"I started playing the steelpan when I was 12. The new music director at my junior high school was a pannist and started an after-school steel band. It was crazy lucky that this happened in the small rural California town I live in. I immediately joined. My dad had exposed me to lots of world music at an early age, so I was eager to learn the instrument when given the opportunity. I absolutely fell in love with the steelpan and ended up getting my own when I went to high school. I learned by watching our director play and was also able to apply my piano background when learning the patterns of the instrument." 

Do you play other instruments? If you sing, do you do that while playing the steelpan?

"I also play other mallet instruments, classical piano, and I sing. I usually accompany myself on piano or ukulele when I sing, but I was just recently inspired to sing while playing pan while at (Berklee's) Percussion Festival. I heard Saki Kurata sing 'Girl from Ipanema' while playing marimba and it was one of the most beautiful things I'd ever witnessed. I'd never really thought of singing with my pan, but I went straight to the practice room that night and tried it out. It's been a work in progress." 

What do you see yourself doing professionally as a steelpan player?

"Professionally with my pan, I can see myself teaching and bringing steelpan to people that wouldn't normally get the chance to explore this instrument, just in the same way I was introduced to it. I want to return the favor for what was brought to me."

Why/how did you choose Berklee as a steelpan player?

"Besides the fantastic reputation of the school, I chose Berklee because it is one of the very few schools that offers steelpan as a principal instrument. I knew that I would be taken seriously and not just as a novelty musician. I wanted to learn from the best and to be in the wonderfully creative and open-minded environment that Berklee offers."

What new skills did you gain at the Berklee summer program? What did you get out of it?

"I can't even begin to convey how much I got out of the Berklee summer programs I attended. I learned new approaches to soloing, how to communicate better with other musicians, how to work with a band, what kind of education and career options I had in music, the histories of different styles of music, and so much more. There were performances, clinics, jam sessions, and classes all day every day. The biggest thing I got out of it was realizing that I seriously wanted to pursue music in my life."

How do you apply lessons from other percussionists to the steelpan?

"I was able to apply what I learned from other percussionists to my steelpan more than I thought I would. Since most of the people at the percussion festival played a drum set, many of the clinics and classes didn't apply directly to my instrument. However, I learned vocabulary that helped me better communicate with percussionists of all sorts, I learned how to feel unfamiliar rhythms and odd time signatures, and I learned what was going through the minds of drummers when I play with them. Most musicians think about what they want out of a drummer, but I learned what drummers want out of the musicians they play with."

Who did you study with at the program and what was your experience like with them?

"I studied with Gustavo Agatiello for my principal instrument class during the percussion festival. I was the only pannist at the festival, so I was lucky enough to get private lessons with him. He was primarily a vibes player and didn't play the steelpan, but he helped me immensely with theory and soloing. He took genuine interest in helping me get what I wanted out of the program and was very understanding in working with my strengths, weakness, and gaps in my musical knowledge. During the Vocal Summit, I was able to study with Ned Rosenblatt for the jazz choir and Daniela Schachter for the style labs. All of the people I learned from were extremely helpful and answered every question I had in depth. They not only helped me while I was at the program, but they gave me the tools and inspiration to continue learning what was sparked at the Berklee summer programs. They also all took time to talk with me about my musical future and the decisions I have to make when I graduate high school."

Are you planning to apply to Berklee?

"I am definitely planning on applying to Berklee. After having such a wonderful experience this summer, I can hardly see myself anyplace else."