ASP/Mr. Godfred Atter Tawiah

(Ag. Director of Band )

Police Band

Assistant Superintendent of Police Mr. Godfred Atter Tawiah is a native of Krobo Odumase in the Eastern region of Ghana, holds a Bachelor of Music degree from the University of Ghana and a Master of Arts .

He was originally commissioned as a senior officer in 2007 and was posted to the Eastern Region as the first director of music to establish the regimental band. He served for three years as the Eastern Regional Police Director of Music.

In December 2010, he was transferred to the Central Band, Accra as the Director of Music, Ghana Police Band. ASP Mr. Tawiah is a graduate of the Associated Board of Royal schools of Music, London, Diploma in Bandmastership, Legon.

His previous assignments include Bandmaster - Ghana Police Central Band from the year 2000 - 2005. Director of Music, National Youth Commission on Culture - 1999 and leader of fanfare group of the Police Central Band 1995 - 1997.

He is the son of the first Ghanaian Director of music Mr. J.K. TAWIAH

THE FORMATION OF GOLD COAST POLICE BAND
The three hundred (300) Hausa men that constituted the First and Second Battalions of infantry played a significant role in the formation of the Gold Coast Police Band. During their leisure times, some of them demonstrated their virtuosity by singing and playing their indigenous music which drew the attention of their colonial masters to the need to form a Police Band. Eventually, a number of them were selected and trained to play the western musical instruments.

As it turned out, twenty-five (25) of them later formed the Gold Coast Police Band in 1918. At first, the band was on its own before it was later transferred to the then Police Depot under the Directorship of the first expatriate Bandmaster, B.Y. Marsh, who was appointed in 1923. Since the band was composed of illiterate (Escort Policemen), as shown in the picture in the previous chapter, they were bare-footed, except the bandmaster who was entitled to wear shoes, since he was a colonial master and a General Police Officer. (Ghana Police Service archives).

The Police Depot, now National Police Training School (NPTS), was established by Act of Colonial Office in January 1930. On March 1st 1930, the band, the depot staff, and recruits under the command of Captain J.W. Barlow, who was the then Commanding Officer (CO), moved from the Accra main central barracks which was the then Police Depot, to their present location at Tesano and the old police band building was surrendered to the Public Works Department (P.W.D.) which now stands adjacent to the Government Transport Yard (S.T.C.) at Tudu in Accra. (Passing-out parade programme. 3rd February 2006 at the National Police Training School, Accra.)

The Gold Coast Police Band at Elmina Castle

POLICE-CIVILIAN RELATIONS
In contemporary Ghana, the Police Band is a popular band that helps to bridge the gap between the Police Service and civilians through public performances. For one reason or the other, not many people know the police band for the role it plays in society. Hence the idea of organizing the ‘’Police Week’’, which was launched for the first time by the Public Relation Directorate of the Ghana Police Service on the 5th September 1976, was conceived so that policemen might have a fresh opportunity to rethink of their role in society, and the public also to be come educated about what they could do to help the police to help society to live in peace and tranquility. Public lectures were organized to that effect. In an effort to merit the goodwill of the public, the Police Band was taxed to entertain the public from time to time.

In that same connection, a police musical programme code-named “Help your police to help you” was organized in the early 1990s by the Police Administration throughout the country. It was designed to entertain the public and foster harmonious police-civilian relations in the country.

EXPATRIATE DIRECTORS

A little while after B.Y. Marsh had retired in 1942, another expatriate bandmaster, Mr. T. Stunning, an Assistant Superintendent of Police (ASP) was appointed to lead the band. He also did his best and led the band to perform at the then European Club in Accra every Sunday evening to entertain the European community resident in the then Gold coast. The band played mainly classical music and a few local tunes. In 1943, Mr. Thomas Stenning apparently in recognition of his sterling qualities, was assigned the responsibility of taking the band on a tour of the UK for six months. The purpose of the tour was to entertain and demonstrate to the British populace what the colonial masters have achieved in training the African in terms of music. Soon after the tour, however, Mr. T. Stunning retired.

Thomas Stenning (b. 1888) enlisted in 1905 into the 7 Dragoon Guards. He became a Lance Corporal in the 6 DGs and in 1917 was commissioned as Lieutenant in the 2nd Queens Own Royal West Kent Regiment. He embarked on the Student Bandmaster Course at Kneller Hall and undertook his Associate of The Royal College of Music (ARCM) in 1922. After training he became Bandmaster of the 11th Hussars from 1923-1936. He was appointed Bandmaster of the Royal Military College (Sand Hurst) from 1936-1943 and served as Bandmaster of the Gold Coast Police from August 1943 to November 1948. (Courtesy, Major P.D. Shannon, Royal Military School of Music, London)

Another expatriate S.T. Vinnecombe who was appointed in his place also died through a motor accident at the Farisco Junction, Adabraka, Accrain 1950. He was buried at the Christiansborg Cemetery at Osu in Accra. He was succeeded by J.H. Hempstead who also retired soon after Ghana attained independence in 1957. The picture below is Mr. S.T. Vinnecombe.

fig.1.

Vinnecombe in a rehearsal(By Courtesy of Mr. M.O. Okrah)

fig.2.

T. Stunning and the Fanfare team. (Picture, Courtesy, Ex-Insp. Ayertey).

GHANAIAN DIRECTORS
The first Ghanaian Bandmaster and the first Ghanaian Commissioned Officer to be appointed Director of music of the Ghana Police Band was Mr. J.K. Tawiah. During his tenure of office, the first Ghanaian Escort Drum Major, Agadia Kanjaga was also appointed. Mr. Tawiah took his post in 1959 after he had returned from his training at the Royal Military School of Music, Kneller Hall, in the United Kingdom. He was also the first Black African to be enrolled in the above mentioned institution of learning in the UK. Ever since, the Police Band has been headed by Ghanaians till today. J.K. Tawiah held the fort until when he was put in detention and charged for treason. As it was and still a tradition for every student bandmaster to compose a march at the end of his or her course, J.K. Tawiah’s final year composition at the above mentioned institution “Mother Africa” also known as Police March, is one of the recognized songs adopted by the Police for parade purposes. The full score is displayed on page 58.

fig.1.

The first Ghanaian Drum Major, Agadia Kanjaga.(Picture by Courtesy of Police Band)

After J.K. Tawiah was called back from his detention, he was posted to Kumasi as the first Director of Music for the Northern Sector Command in 1968. He was later removed from office. He was nick-named “The wizard trumpeter” due to his virtuosity on the trumpet. After Tawiah had left, Chief Inspector Annan was appointed the bandmaster before Assistant Superintendent of Police (ASP) Mr. N.S. Aryee took over from 1964 and retired in 1972. Aryee was appointed based on seniority and the experience he gained as a senior bandsman. He is remembered for his “Piccolo House” at Osu in Accra.

fig.2.

The first Ghanaian Bandmaster to be appointed
Director of music, J.K. Tawiah
(Picture by Courtesy of Police Band)

Thereafter, Superintendent of Police (Supol) Mr. M.O. Okrah who was also trained at the Royal Military School of Music, Kneller Hall, in the United Kingdom also took over the leadership of the band from 1972. Before leaving for the UK, Mr. Okrah had had his LRSM in Clarinet, while he was pursuing a three year Diploma in General Music Course at the University of Ghana at Legon. As part of the school’s requirement, he composed ”The Black Star Forever” as his final year project. He retired in 1982. While in active service, he lectured at the University of Ghana as a part-time lecturer and, after his retirement, he continued to lecture until he decided to quit. I am privileged to be one of his students.

fig.3.

Aryee is remembered by his “Piccolo House”
at Osu in Accra.
(Picture by Courtesy of Police Band)

fig.4.

upt. (rtd.) Mr. M.O. Okrah trained at the RMSM,
Kneller Hall, UK.
(Picture by Courtesy of Police Band)

Due to his virtuosity on the clarinet, he was nicknamed “the Classical Man”. After Mr. Okrah retired, Superintendent of Police (Supol) Mr. C.V.K. Tuadzra took over the band as the senior Chief Inspector and a Bass Trombonist from 1982 and retired in 1990 after he was given a one year contract by the then Government in power, (PNDC). Due to his distinguished dynamism, the Provisional National Defense Council (PNDC) Government offered him the opportunity to study Leadership (Social Science) in the former German Democratic Republic (GDR), Germany.

Mr. Hope K. Ziorklui who was trained at the then National Academy of Music (NAM), now University College of Education, Winneba, also took over as the Director of Music from 1990 but died in active service in 1995 with the rank of a Superintendent. He was a Cornet player.

fig.5.

Supt. (rtd.) Mr. C.V.K. Tuadzra
(Picture by Courtesy of Police Band)

There were three other commissioned officers who assisted in the running of the police band. (ASP) Mr. Christian Korkuvi Fiagbe was an accomplished percussionist who retired in 1987. While compiling this thesis his death was announced. ASP Mr. J.K. Angmor a clarinetist, retired in 1993 at the age of 55. When the compulsory retirement age was changed to 60 years, he was called back and posted to Kumasi band. There, he was promoted to the rank of a Deputy Superintendent of Police (DSP) and later retired in 1998.

fig.6.

DSP. Mr. J.K. Angmor

Mr. D.O. Lomotey was also a clarinetist who pursued a BA. Ed. Programme at university of Cape Coast. He also headed the Kumasi band from 15TH Dec. 2000 to 30th April 2001 and later opted to do General Police Duties.

fig.7.

DSP. Mr. D.O. Lomotey

After Hope K. Ziorklui, Charles Kwaku Nimako now Nana Obour Nimako I, an Assistant Commissioner of Police (ACP) and also the Benkumhene of Bechem Traditional Area in the Brong-Ahafo Region, took over as the Director of music in 1985 when he was an Assistant Superintendent of Police (A.S.P). He had to abandon a 4-year course, after spending three years at the National Academy of Music (NAM), Winneba, to continue at the Royal Military School of

fig.7.

Late Supt. Mr. Hope K. Ziorklui died in active service in 1995
(Picture by Courtesy of Police Band)

Music, Kneller Hall, in the United Kingdom. He was a Keyboardist in the dance band and later learnt to play the Clarinet and Alto Saxophone. (Personal interview with Mr. M.O. Okrah) and (Graphic Showbiz 1999).

In early May 2006, the Police Administration issued a Circular requesting Nana Obour Nimako to proceed on leave due to some problems he had with the Police Administration. He was asked to handover the Band Administration to the Commanding Officer (C.O.) C/Supt. Mr. Abass Abaah whilst his deputy A.S.P. Frank K. Hukporti continues to assist as the second in command(2i/c).

REGIONAL BANDS
At present, the Police Band comprises the (Regimental Band), the Military Band, the Dance Band, the Corps of Drums which is an extract from the Fife-and-Drum band, and the Brass Band. The brass band is also an extract from the brass section of the Military Band. In the Regional Capital, Accra, which serves as the Central Band Headquarters of all the bands consist of a Dance Band known as “Chapter one”, a Guitar Band, also known as “chapter two”, the Military Band and a Corps of Drums.

The ‘Chapter one’ dance band happens to be the first band that was formed after the military band in the early 1961 under the command of Mr. S.R. Tachie-Menson. He and his team were brought from ‘Cape Coast Chasmen Sunset Band’ in the Central Region of Ghana. It was his tenure of office that Ewura Ama, the famous female composer and singer, was recruited into the police band.

On 1st March 1961, S.R. Techie-Menson and the dance band accompanied the then Prime Minister of Ghana, Dr. Kwame Nkrumah to Upper Volta now Burkina Faso, for a two-week tour and performance.

fig.1.

Mr. S.R. Tachie-Menson
(Picture by Courtesy of Police Band)

On 3rd March 1965, the band traveled on board a ship named “Offin River’ to Sierra Leone at the request of the Sierra Leonean Government. They performed at Fourabay College, Kingston, Goode’s Hall and the Army Mess. On their return to Ghana, they were on board a Ship named “Birim River”. In 1968, the band toured Dahomey, now Benin, and Togo. He composed “Takoradi Police”, a popular old time Highlife tune. He retired as a (Supol) Superintendent of Police in 1991, after a one year contract was awarded to him by the Police Administration. After S.R. Techie-Menson had retired from the police, he was given another appointment by the management of the Ghana National Fire Service which led to the birth of the Fire Service Band. (The Picture below is by Courtesy of Police Band).

fig.2.

ASP. (rtd) S.K. Ansah
(Picture by Courtesy of Police Band)

Chief Inspector S.K. Ansah took over as head of the dance band and retired as an Assistant Superintendent of Police (ASP) in 1991. Assistant Superintendent of Police (ASP) Mr. J.B. Pinkrah took over from S.K. Ansah and later retired as a Deputy Superintendent of Police (DSP) in 2000. (Picture by Courtesy of Police Band)

fig.3.

DSP. (rtd) Mr. J.B. Pinkrah

The Central Band was under the Directorship of Nana Obuor Nimako I, an Assistant Commissioner of Police (ACP), and also the Benkumhene of Bechem Traditional Area in the Brong-Ahafo. As stated earlier, he trained in the UK. He was assisted by Assistant Superintendent of Police (ASP), Mr. Frank K. Hukporti, also a product of the Music Department, University of Ghana, at Legon and, an M.Phil. holder who is currently the acting Director of m
usic

fig.4.

Nana Obuor Nimako I,
Assistant Commissioner of Police

There are other bands based in some of the regional capitals that are composed of the Dance Band and the Corps of Drums. In Kumasi in the Ashanti Region, there is a Military Band and a Dance Band, which takes care of the musical needs of the personnel in the Northern Sector Command of the country. The Director of Music for the Northern Sector is (ASP) Mr. Ephraim Kwateng, being assisted by (ASP) Joseph Addi, both are products of University College of Education at Winneba. There is a Corps of Drums at Ho, the Volta Regional Capital which is also based at the Regional Police Training School (RPTS). It is under the supervision of C/Insp. J.W.K. Ansah, also a product of the University College of Education at Winneba.

fig.5.

(ASP) Mr. Frank K. Hukporti

In the Eastern Regional capital, Koforidua, there is also a Corps of Drums based at the Regional Police Training School (RPTS) at Gala way. At first, there was a dance band but this was disbanded with the players later fused into the General Duty stream. It is under the supervision of Insp. Frimpong Gyan-Mante, a product of the Music Department, University of Ghana, at Legon. In Winneba in the Central Region, there is also a Corps of Drums based at the Regional Police Training School (RPTS) under the supervision of Insp. Doe Hanyabui, also a product of the Music Department, University of Ghana, at Legon.

Sunyani; the Brong-Ahafo Regional Capital, is equipped with a dance band. Formed in 2003, and based at Tanoso, and it is been taken care of by Insp. Bismarck Yeboah, who was also trained at the Music Department University of Ghana, at Legon. Since 2004, Bolgatanga, the Upper East regional capital, has had a corps of drums which the Bandmaster, Insp. Kofi Agymang-Badu, by his own inventiveness, later converted into a brass band which is based at the Regional Training School (RTS) at Pwalugu. He also trained at the Music Department, University of Ghana, Legon.

In Oct 1970, the Tamale police dance band was formed and was headed by Mr. David Tachie-Menson, a cousin of S.R. Techie-Manson. Mr. David Tachie-Menson was offered a scholarship by the Police Administration and was trained in a Conservatory in Germany for 3 years. While he was away, S.R. Tachie-Menson was transferred to Tamale to hold the fort. He helped trained Christy Azumah and Lady Talata of Uppers Chapter 1 and Uppers Chapter 2 bands based in the Upper Region in the 70s. The Tamale band was on their way to perform when they had an accident and most of their instruments got damaged. In this respect, the Police Administration thought it wise and transferred all the bandsmen to Accra to augment the strength of the Accra dance band. As the days passed, most of them opted to be reverted into the general duty pool.

When David Techie-Menson returned from Germany, he took up an appointment as the Director of Music in the Kumasi band after he was commissioned with Course 16 at the Police College in 1977. He deserted his post during the 1979 revolution.

As mentioned in the previous chapter, in June 1947 expatriate Stunning, apparently in acknowledgment of his sterling qualities, was assigned the task of taking the band on a tour to the United Kingdom for six months. The rationale behind the tour was for the band to entertain and exhibit to the British populace what the colonial masters have accomplished for the African in terms of music. Chief Inspector Annan was the senior most Inspectors who traveled with them.

While in the United Kingdom, the band visited some historic sites, such as the Buckingham Palace, marched through some principal streets of London, the Hendon, and the Royal Albert Hall etc. On the 9th of June, they visited and spent a night at Hendon, where the UK Police Training School is situated. There, they were welcomed and conducted round the school by Chief Inspector Allen who was then a resident instructor. At Hendon, a dinner was organized in their honour.
The band marched past through some of the principal streets of London and later performed with a choir at the Victoria Park, also in London. Some of the members of the choir, out of inquisitiveness approached the band to really ascertain whether they were in fact playing from score. Later on there was interaction between the general public and the police band.

THE GOLD COAST POLICE BAND TOUR TO THE UNITED KINGDOM

fig.6.

Some choristers looking on out of curiosity

There was a performance organized for the Gold Coast police band at the Royal Albert Hall by the British Broadcasting Corporation (BBC). While they were performing, the organizers of the said concert arranged with the light crews to put off the lights at the middle of the concert which they did out of curiosity and doubtfulness. To the surprise of the audience, the band stopped playing abruptly. Research has proven that they were playing one of Johann Strauss’ Waltzes. When I went through the repertoire of the Gold Coast band, I saw the Emperor Waltz and the Blue Danube Waltz one of which, I believe, was being probably played. I understand these two pieces were the favorites of Stunning, the expatriate Bandmaster and Director of music. Everywhere he went with the band he made sure these pieces were part of that event’s programme. (Personal interview with Mr. M.O. Okra)

fig.7.

The band marched through some streets in London

The band gave so very good a performance in the United Kingdom that it received high acclamation from the British public, being the first band from the colonies to tour England.

fig.8.

Another scene of the Foot Guard’s Band at the Buckingham Palace

The photograph below is by courtesy of Police Headquarters archives. The plane was owned by the Sivewright Airways Ltd. On which the Gold Coast police band used in their journey back from the United Kingdom.

fig.9.

Their arrival from the UK

UNIFORMS (COSTUMES)
Standardization and uniformity is one of the essential and fundamental apparatus of the band. Because the band performs and travels to several places, there was the need for them to appear very neat, beautiful and colourful. For that matter, various types of uniforms were designed for the band. These uniforms were and are worn to suit the type of event and place of engagement.

Below is shown the Ceremonial Dress as we often called it. was designed for the purpose of parade/drill and gymnastic displays. In the Gold Coast era, the ceremonial dress was in three phases. (1) The yellow and white dress which was worn at the top with a black trousers with a white strip on both sides, and a white Sergeant’s Cap to match. This was meant for the presentation of Credentials at the Christiansborg Castle when the then President in a ceremony was welcoming a member of the Diplomatic Corps at Osu. It was also worn during State Banquets and occasionally for gymnastic displays at the sports stadium. Today due to economic constraints, the Yellow and White ceremonial dress is no more in existence.

(2). The blue and white dress is used mainly for parade purposes. In the Gold Coast era, there was an additional value to it. Thus by the use of gaiters, which was worn between the shoe and the trousers, a black trouser, a blue stripe and a black and white Sergeant’s Cap to match. Even though it is still in use, the use of gaiter is remembered as history.

fig.9.

The yellow and white ceremonial dress on display
at the Accra sports stadium.

fig.10.

The blue and white ceremonial dress on displayat the Depot
parade ground.

It is composed of the trousers of the current ceremonial dress, an ordinary light blue shirt, a shoe for officers, a boot for the other ranks and a black Beret to go with it. The above mentioned dresses were worn with chevrons with the exception of the current Evening dress which is worn with an embossed chevron.

The Gray shirt, also goes with a black beret but is occasionally worn with a Sergeant’s cap. This is used for duties that involves fatigue i.e. route marches, parade and other rehearsals.

fig.11.

The Suave uniform (jacket)

Lacoste, a popular “T” shirt is also part of the band’s costume on the left breast of which the Police Crown is boldly embossed. This is worn when the band is performing on a float. Popularly known as “inter city tour”, it is also used when the band is playing at the request of a civilian.

The Blouse (black-black) is considered as the traditional uniform of the Ghana police service. In the early days, it was meant for only escort (General) Policemen. It also forms part of the band’s accoutrement. It is used for ordinary band engagements; if it is not a special ceremony. See picture on General Police on page 22.

BADGES AND INSIGNIA
According to the Bible, David played a musical instrument, the music of which served as a therapy to King Saul when he fell sick. This instrument, the “Lyre”, is said to be an ancient Greek stringed instrument which is universally recognized as a symbol of representing to music. It is designed as a badge or an insignia for the music fraternity for which the Gold Coast police band is no exception. This tradition has been maintained till today. In the past days, these were made of metal with an instrument designed on it depicting one’s major instrument. Presently, it is made of plastic materials and yet others are woven. The plastic ones are worn by fastening it on the right top pocket, whereas the woven ones are sewn on the arm of the ceremonial dresses in the form of embossed embroidery. It has existed in the police band till today.

fig.12.

The metal badge.

The woven badge.

There are other badges that are worn by members of the service, and these are worn to determine one’s status from the last Constable to the Chief of Police or the Inspector General of Police (IGP). It is normally referred to as the Organizational and Administrative Structure of the Ghana Police Service (OASP).

fig.13.

These are worn by the junior Officers

fig.14.

The Senior Officers

THE BAND REPERTOIRE IN DIACHRONIC AND SYNCHRONIC CONTEXTS

In the early years of the band, its repertoire consisted mainly of Western classical music which derived from the Western Baroque, Classical and Romantic periods. The repertoire was made up of concertos, oratorios, symphonies, overtures, selections, grand marches, suites, solos, and many others. These pieces were labeled and classified by the “Military band journal”, and published by Chapels Music Society. It was obligatory for the police band to play Western pieces since the colonialist would not allow anything African. Today, these large collections of pieces constitute the bulk of the police band library from which other service bands borrow their musical materials. It has thus been a tradition for the police band to play Western pieces as its repertoire. As a result, it has compelled the performers to learn to read music critically and this tradition to play from score has been kept up till today.

Much as the political dispensation of Ghana gradually changed from Euro-western to African and Ghanaian for that matter, the band’s repertoire also shifted from western classical music to those of African choral and instrumental music. The Abongo March is one of the early African tunes arranged for the band and is known by Ghanaians as “Kumasi Bantama”. This was adopted as a signature tune for a programme on our National Radio Station, GBC Radio 1, dubbed, Ghana Newsreel.
Since J.K. Tawiah was the first Ghanaian to be appointed Director of Music in 1959, he made sure he included some African tunes in his programmes. For example, for that purpose, he composed “Mother Africa” which is popularly nick named by barracks boys as “Sergeant Major Yepe Ntem”, meaning: Sergeant Major, we are in haste.

fig.1.

fig.2.
Mother Africa cont.

fig.3.
Mother Africa cont.

Band version of Mother Africa

In Police circles, the piece is referred to as the “Police March”, since it is normally played when police contingents advance towards the saluting dais when on parade, and officers at the saluting dais are expected to be upstanding.

Today, the police band has a large collection of pieces arranged by Ghanaians which forms part of the band’s repertoire. In the 1980s, the chairman of the Provisional National Defense Council (P.N.D.C.) Flt. Lt. Jerry John Rawlings asked all the service bands to play Ghanaian patriotic songs during national parades, gatherings and other functions. Since this idea was introduced, the band continued to play these pieces till today, even though performing the Western pieces were not completely abolished thanks to Assistant Superintendent of Police (A.S.P.) Frank Hukporti who has been fond of arranging such locally arranged pieces for the police band after he has taught his choirs. Sometimes, the band was requested to play a particular Ghanaian piece when engaged. This was done because, normally, when these songs were being played, the audience would sing along and sometimes even dance to these tunes. Below are some of the Ghanaian pieces arranged for the band:-

fig.4.

fig.5.

An introductory pentatonic piece arranged for band trooping

PERFORMANCE PRACTICE
Normally, in the African traditional musical situation the sitting arrangement between performers and the audience is such that it does not present a wide gap or a clear-cut boundary, except where the nature of the performance requires it. The situation was different with the police band. There was always a clear-cut boundary between the performers and the audience. Whenever the instrumentalists and choristers were grouped at one end of a stage or arena, the audience sat directly opposite the band or flanked their left and right in Horse-shoe formation.

fig.1.

The Police Band rehearsing in the 1970s at G.B.C. House
In a Horse-shoe formation.

During performances, the audience normally showed a blend of African and Western gestures. For example, whenever the band performed Ghanaian traditional dance and highlife music sometimes accompanied with dancing, the general attitude of the Ghanaians among the audience was an outward dramatic expression of feeling which was rendered in the form of shouts, yells and whistles of appreciation. Other Ghanaians showed their appreciation by clapping, raising two fingers or even humming the tune being played. On the other hand, whenever the band performed Western classical pieces, the audience, both Ghanaians and Europeans, normally displayed an unemotional contemplative behavior generally expected in Europe.

To ensure that, they were often advised to remain passive up to the end of the piece before they showed their appreciation by applauding. There are two categories of people who patronized the band concerts; (1) those who attended the concert just for the sake of curiosity and (2) those who attended to satisfy their musical taste.

To prepare the band for a performance entails a considerable amount of fatigue. As a disciplined organization, rehearsal or practice as we normally call it has a fixed schedule, practice starts at 8:00 hours prompt and ends at 13:30 hours. Between these hours, there is a 45 minutes break at 10:00 hours. But anytime there is a busy schedule, the band rehearses in the evenings and sometimes at weekends as well. Anytime there is a joint performance involving the band and a choir, the band had to travel to the location of the choir for rehearsals. And when the band is to practice with its affiliated bands, the leaders together agree in principle to determine the location of the rehearsals. There were always three places for this exercise. (1) the Police Band premises, (2) that of the Army or (3) at the Independence Square.

On the other hand, rehearsal venues may change depending on need. For example, on the 13th of August 1970, a letter was sent from the management of the Ghana Broad Casting House (G.B.C.) to the Police Band entering into agreement in order to put up a series of Programmes dubbed “Dancing Time for Dancers” at the compound of Radio Ghana, which was signed by the music programme organizer by name Adolph K. Doku. There was another one named, “Band Stand”. Towards Christmas there was a Christmas Concert on the lawns of the GBC House. This compelled the band to have a strict rehearsal schedule and this also obligated the GBC authorities to erect a shelter (structure) for the police band for the said programme. The first expatriate bandmaster, B.Y. Marsh, as part of his outstanding contribution to the development of the band, proposed the above mentioned shelter through the Inspector General of Police (I.G.P.) to the Colonial Secretary for onward transmission to the then Governor of the Gold Coast in 1936. (National Archives File # 1224/31 Sub-File # 3).

In general, in line with Nilo Hovey’s (1976) recommendations, pre-rehearsal planning and post-rehearsal analysis were taken to be of paramount importance. The object: maximum efficiency in the use of rehearsal time. Pre-rehearsal planning included careful marking of the score in anticipation of some of the difficulties to be overcome. Post-rehearsal analysis was, in effect, a revision or extension of plans, based on the results of a previous practice session. In addition to a considerable store of musical knowledge, a successful instructor of instrumental music was usually expected to possess a high level of acuity, an analytical mind, and the ability to instil in his student musicians the desire to excel. The addition of tack, human understanding and the abundance of patience did much to ensure a productive rehearsal. The following is a picture that was taken by the high reeds section of the Gold Coast police band after a performance at the G.B.C. House in Accra.

fig.2.

The wood-winds section (Picture, courtesy of Ex-C/Insp. Ayertey)

INSTRUMENTATION
There has been only one form of instrumentation in the Military Band since its beginning, except that some instruments have been replaced from time to time to suite current trends. The instruments from which the Ghana police band has taken inspiration from are all western. These instruments are classified in three main sections: the brass wind section, the wood wind section and the percussion section. The brass wind section includes the Cornet, Trumpet, Tenor and Bass Trombones, French horn, Euphonium, Post horn (which came out of the French horn) and Tuba. In the wood wind section, we have the Bassoon, Alto, Tenor and Baritone Saxophones, Bb Clarinet, Eb Clarinet, Flute, Piccolo, Oboe, Cor Anglais and Bass Clarinet. The percussion section includes the Bass drum, Snare and Side Drums, Triangle, pair of Cymbals, Tambourine, and Glockenspiel (which we always refer to as marching bells), Timpani (kettle drum) and Xylophone. The following are pictures to illustrate the above mentioned instruments that are currently used in the Ghana Police Band.

THE BRASS-WIND SECTION

The Trumpet has been in use since earliest times by all nations. It ranges from single shell horns to long metal bell end versions. Whereas in the early days the drum was used for marching, the trumpet served to convey officers’ orders.

fig.1.

The Trumpet

fig.2.

The Bass Trombone

The Trombone originated in the 15th century as a modified version of the trumpet. The main difference between today’s Trombone and the earlier version is the appearance of the flaring bell which did not make an appearance until the 1740s in Europe. At first its main use was for royal fanfares, and it was only brought into use in military bands during the early 19th century.

The French horn is a horn of one description or another which has been in use since early times. It is also known as the European or French horn, so named as to its country of origin. It has undergone, over its lifetime, great changes from a single hoop to more sophisticated ones of today. The horn family is broken down roughly into four sections: (1) The hunting horn (2) Post horn (3) Single horn and (4) the orchestral horn.

fig.3.

The French horn

fig.4.

The Euphoniuma

The Euphonium, known as the tenor tuba is also used in orchestras. It is pitched in B flat and has a compass of three octaves, with an added valve that produces the notes of the lower register.

According to the “Regiment”, a Military Heritage Magazine that featured bands of the British Army, and the Royal Military School of Music. The 61st edition of a magazine published by the Grenadiers Limited in the United Kingdom reiterates that the word, Tuba, was first found in an Ancient Roman text, and it was the forerunner of the trumpet. The present day Tuba is a brass tube with a wide conical bore, with between three and six valves. The tuba family also includes such other instruments as the Sousaphone and the Euphonium.

fig.5.

TheTuba

fig.6.

The Sousaphone

The Sousaphone is associated with the American Bandmaster and composer of marches (Washington Post, Star and Stripes Forever etc), John Philip Sousa.

THE WOOD-WIND SECTION
The Piccolo came into use around the 1800s. One of the composers to use it was Beethoven. The Piccolo is one octave higher in pitch than the flute and is half the size. (The picture below is by courtesy of Samsh.com).
Fig. 1.

The Piccolo

The Flute is known to have been used, in a primitive version, since 5,000 years ago and has been used in many versions since then. It was used intensively in England during the reign of Henry VIII and became the most popular of musical instruments during the 18th century. The present day versions are mainly constructed of metal, with some still been made of wood. It is constructed in three sections with sixteen keys: (1) The mouthpiece, (2) the main body and (3) the tail. (61st edition of the “Regiment” Oct. 2004). The picture on the next page is by courtesy of Samsh.com

fig.2.

The Flute

The ancestor of the Oboe is known to have been used by the Ancient Greeks. The present day version is usually credited to Jean Hotteterre in the mid 1600s. It started life with very poor tones, but over the centuries has become what we know today. The Treble or Soprano Oboe, Oboe d’ Amore, Cor Anglais, and the Baritone Oboe are some of those in use today. It is has a double reed. The picture below is by courtesy of Samsh.com

fig.3.

The Oboe

The Clarinet in the military band is said to be the representation of the string section of the orchestra. No one knows for certain who invented the Clarinet but it is commonly attributed to Johann Denner and his son who first used the name Clarinet. The Clarinet is made up of five parts, (1) the mouthpiece, (2) barrel, (3) upper joint, (4) lower joint and (5) bell. The mouthpiece is supported by a reed. The picture below is by courtesy of Samsh.com

fig.4.

Cor Anglais or English horn

The English horn, a wood-wind instrument of the oboe family, but standing a fifth lower than the oboe and written as a transposing instrument a fifth higher than sounding; compass from the E below middle C upwards for about two and a half octaves. Used rarely before the 19th century Romantics but often thereafter it was used in the orchestra. But still rare in chamber music, as solo instrument and later introduced in the British military bands.

Fig. 5.

The Bassoon

The Bassoon, a bass woodwind instrument found in the Orchestra and military band, it occasionally serves as solo instrument in chamber music; having a double reed, is thus related to the oboe. Its Compass is from the Bb below the bass stave upwards to about three and a half octaves. (Picture, by courtesy of Samsh.com).

fig.6.

The B Flat Clarinet

The Bass Clarinet is pitched in B-flat, one octave below the soprano B-flat clarinet. It is believed that the bass was invented by either G. Lott in Paris in 1772 or Heinrich (Heinreah) Grenser in Dresden in 1793. (Picture, by courtesy of Samsh.com).

fig.7.

The Bass Clarinet

The Soprano Saxophone is the highest in pitch among the Saxophone family.

fig.8.

The E Flat Soprano Saxophone

The E-flat Alto Saxophone. The Saxophone is the most modern of the woodwind family instruments, it was patented in 1846. Its family is divided into a number of different instruments, which include Sopranino in E Flat, Soprano in B Flat, Alto in E Flat, Tenor in B Flat, Baritone in E Flat, Bass in B Flat and Contrabass in E Flat. The picture below is by courtesy of Samsh.com.

fig.9.

The E-flat Alto Saxophone

The Baritone Saxophone. The baritone member of the family of wind instruments invented by Adolphe Sax in 1840. The Baritone Saxophone (Bari sax) is made of brass with a tapered bow. It has a single reed similar to that of Clarinet and the other saxophones. Its fingering system is based on that of the oboe. (Picture by courtesy of Samsh.com).

fig.11.

The Baritone Saxophone

THE PERCUSSION SECTION

The Bass Drum, is a large shallow drum of low but indefinite pitch; used in the symphony orchestra, the military and brass bands.

fig.1.

The marching Bass Drum with a vest

The Side Drum (slung slightly to one side when marching). It is used in the orchestra, military band, dance band, etc. It has a skin at either end of a shallow cylinder, the upper skin being struck with a pair of wooded sticks and the lower one being in contrast with gut strings or wires (called snares: hence its alternative name snare drum). These snares add a rattling effect to the tone; they can be disengaged if the composer so directs.

The Side Drum

The Triangle, a three-cornered metal-framed percussion instrument, struck with a metal rod; its tinkling sound is without a definite pitch.

fig.3.

The Triangle

The Glockenspiel, a percussion instrument of tuned metal bars that produces a bell-like sound; played (more usually) with small hammers held in the hand. It is constructed in a keyboard format. There is a modified version for the military band called the Marching Bells. (The term is used, though more rarely, for a chime of real bells played mechanically or by hand). It is allied to the Vibraphone.

fig.4.

Piper Vibraphone allied to the Glockenspiel

The Timpani (Kettle drum) a set of large metal drums also called Kettle drum found in an orchestra and military bands.

fig.5.

The Timpani or Kettle drum

The Tambourine is a type of small drum struck with the fingers and rattled with the hand; it has little jingles inserted into its wooden frame. It is of Arab origin but was known in Europe before 1300; brought into the modern orchestra by Weber, Berlioz, and later, composers used it mainly to evoke revelry, gypsies, exotic scenes, etc.

fig.6.

The Tambourines

The cymbal is a percussion instrument consisting of a plate of metal either struck with drumstick (single stroke or roll) or clashed against another cymbal. The so-called ancient cymbals or antique cymbals (specified e.g. in Debussy’s AFTERNOON OF A FAUN) are tuned to definite pitch. Ordinary cymbals are of no definite pitch but, nevertheless one of them may sound higher than another.

fig.7.

The cymbal

RECRUITMENT AND TRAINING
Once a potential musician has been auditioned and accepted into the Police Service through the recruitment selection process, he or she is expected to complete the Phase One Training at the National Police Training School (NPTS) in Accra, where he or she undergoes six to nine months basic training with other recruits selected for general Police duties.

The musicians, after graduating from the training school (NPTS), are posted to the band for the commencement of the Phase 2 training known as the “The Foundation Course” which is by way of an in-service training for another six months. The aim is to acquaint them with the ethics of the Policeman as musician, and to attain a particular set standard before they are enrolled into the main band, the Military Band of the Dance Band.

This initial assessment helps to ensure that musicians receive training tailored to their individual aptitude and achieve the aim of passing the Associated Board of The Royal Schools of Music (ABRSM) graded courses, a correspondence course administered in the United Kingdom.

In the early 1960s, recruitment was based on interest. Anybody who was interested in music and had the requisite police features was enlisted and trained as an instrumentalist because, around that period, it was difficult for someone to own up, especially with reed players. As the days rolled by, consideration was given to those who could play an instrument but did not have the features of being a police officer by way of height. Others with paper qualification who are not musicians used the band as a pivotal entry into the police service. After being with the band for a period of time, they find their way into the General Duty Stream.

SOURCES OF INSTRUMENTATION
Ever since the police band was formed, musical instruments were ordered from the United Kingdom, from either Boosey & Hawkes or Besson and Sons to be precise. During the early 1960s, the purchasing of instruments shifted to Selmer Company also in the United Kingdom.

According to Mr. Okrah, when he took over as the director of music in 1971, with the help of the then Insp. Gen. of Police (I.G.P.) Mr. F. P. Kyei, assisted and the band took delivery of full sets of instruments from Boosey & Hawkes. In recent years, the acquisition of musical instruments for the Police band has become a matter of concern for the police administration, since the budget government gives to the police is inadequate, hence the difficulty in acquiring instruments for the band. Currently the instruments the band is using are the consignments that were brought from Boosey & Hawkes Company in the United Kingdom in 1986 during which time Mr. C.V.K. Tuadzra was the Director of Music. Even then, he had to battle it out with government officials as far as to the presidency level before he was considered.

Even though we still maintain these instruments, some have actually gone bad and the current band administration is compelled to do some purchasing locally to augment the existing ones.
Arrangements are however in place for the band to acquire instruments towards Ghana’s 50th Independence Anniversary on the 6th of March 2007. The companies involved are the Sam ash Music Company Ltd. the Jupiter Music Industry and Yamaha Music Industry in Asia of which are affiliated to Boosey & Hawkes of London.

PROMOTION OF PERSONNEL
In an interview with Mr. M.O. Okrah, one time director of music, he said, promotion in the early days was based on death and dismissal. In those years, dismissal was not known and common like today, so, if one was not dead, his position would not be filled by way of promotion.

As the days rolled by, Ghana attained independence and the first Commissioner of Police Mr. E.T. Madjitey was always excited with the police band, so each time senior officers met at the Officers Mess with the police band in attendance, he racked Chevrons in his pocket and dashed them out to the bandsmen by way of promoting them.

In the 1970s, Mr. R.K. Kugblenu, former I.G.P., also promoted Chief Inspector Lucas Bayakpa to a corporal due to his outstanding virtuosity on the cornet at the same Officers’ Mess. So in recent times, band personnel when performing at the Officers’ Mess put up their best in order that promotion might come.

The same applied to Mr. S.S. Omane and Mr. C.K. Dewornu, both former I.G.Ps. who were also excited with the band. As an I.G.P., Mr. Omane conducted the band in his time whenever the band played his favourite piece, “Old Comrades”, which is a march. Similarly, Mr. C.K. Dewornu played on the Conga each time the band played at police gatherings. Out of his excitement with the band, he enlisted the first female trumpeter who is now Inspector Jane Amaning, who later left the band due to ill health. Even though there were women in the band who played Saxophone and others sang, none of them played the Trumpet.

Recently the Police Administration came out with a policy guideline to regulate and encourage personnel to further their education in the tertiary institutions. This policy covered every policeman, including those in the police band. In the policy, a Diploma holder is promoted to the rank of an Inspector, a First Degree holder is promoted to an A.S.P. (Assist. Supt. of Police) after going through the Police College and so on.

It is thus of historical significance that after going through correspondence courses, the author of this dissertation gained admission to pursue a Diploma course in General Music at the University of Ghana, Legon. Based on the police guideline, from Constable, he was as a result promoted to the rank of an Inspector after graduation, and this happened to be the first of its kind in the historical development of the Ghana police band. Currently, the author is the first person to be enrolled for an M.Phil. Programme still in the University of Ghana, Legon.

PROBLEMS AND SOME SOLUTIONS
As with many other institutions, the Police Band has not existed without problems. The Police Administration, especially the public and critics, see the artistic role of the band as a secondary issue. To them, so long as the band is able to play at a function, the neat appearance of the personnel and their instruments and the well behaved nature of the personnel, emphasizes the fact that the band has no problem.

As at the time of conducting this research, the band is not properly located and properly accommodated. The building in which the band is housed does not befit its status as the nation’s police band. Thanks to Mr. P.K. Acheampong, the present IGP. and Mrs. Gifty Anim-Botwe, Commissioner of Police and the Band’s President who supplied the band with two computers upon a request made by the author ASP. Frank K. Hukporti, during a meeting held at the Police Headquarters cafeteria complex in December 2005. These computers are used to recopy the old and tattered pieces by the help of FINALE, a music notation software developed in the USA.

The instruments the band is using were purchased in 1985 during which time Mr. Tuadzra was the Director of Music. It was his time that a Tata Bus and a V8 Land rover were supplied to the band. Later, a mini Tata bus was added. Today, the band can only boast of these two buses of which the old one needs to be replaced. In 2004, the band was issued with a 604 Peugeot cab which was involved in an accident and was damaged beyond repairs which was then driven by the director himself A.C.P. Nimako. Since then, the director has no official service vehicle.

With regard to vehicular needs, the band needs to be equipped with additional buses and an official vehicle assigned to the Director of Music. The band must be equipped with sets of instruments, accommodation to house musicians who are on refresher courses, a modern complex office with acoustic features, and at least four commissioned officers attached to the central band. These would consist of the Director, his Deputy, a Dance Band Director and an Administrative Officer. The band is equipped with a music score library which in the near future should be converted into a proper music reference library with a trained librarian. Thanks to Dr. Kwasi Ampene, an associate professor of music at University of Colorado at Boulder, who, upon a request made by the Ghana Police Service, has donated a few books to equip this library.

There are some functions of the band which when properly explored will contribute effectively to the artistic life of the band. For instance, there should be a yearly band concert series which would draw the attention of the cross section of the Ghanaian community which would provide a broader artistic presentation for the large diplomatic community, the ever-expanding tourist population and the Ghana Police as well.

The police band, I suggest, should have a strong affiliation with the University of Ghana’s Music Department which will run enrichment courses for personnel of the band. The police band should as mentioned earlier, serve as an affiliated department to the University of Ghana’s Music department so to run instrumental courses for students who might want to become band directors in the future.

During a meeting held at the Police Headquarters Cafeteria Complex in December 2005, the author ASP Frank K. Hukporti suggested that all the regional (Fife-and-drum-band) Corps of Drums, should be converted into a military brass band since it is out of vogue. When approved, the bandmasters who would be in charge of these bands, I suggest, should be considered for commissioning.

ASP/Mr. Godfred Atter Tawiah

(Ag. Director of Band )

Police Band

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