Call and response (music)

Call and response (music)

In music, a call and response is a succession of two distinct phrases usually played by different musicians, where the second phrase is heard as a direct commentary on or response to the first. It corresponds to the call-and-response pattern in human communication and is found in many traditions.

In Sub-Saharan African cultures, call and response is a pervasive pattern of democratic participation -- in public gatherings in the discussion of civic affairs, in religious rituals, as well as in vocal and instrumental musical expression. It is this tradition that African bondsmen and women brought with them to the New World and which has been transmitted over the centuries in various forms of cultural expression -- in religious observance; public gatherings; sporting events; even in children's rhymes; and, most notably, in African-American music in its myriad forms and descendants including: gospel, blues, rhythm and blues, jazz and jazz extensions.

These forms also possibly influenced the evolution of call and response in the ancient Indian Classical Music technique of Jugalbandi.

Call and response is likewise widely present in other parts of the Americas touched by the trans-Atlantic slave trade. It is extensively used in Cuban music, both in the secular rumba [Orovio, Helio 2004. "Cuban music from A to Z". Revised by Sue Steward. ISBN 0822331861 A biographical dictionary of Cuban music, artists, composers, groups and terms. Duke University, Durham NC; Tumi, Bath. p191] and in the African religious ceremonies (Santeria). [Sublette, Ned 2004. "Cuba and its music: from the first drums to the mambo". Chicago. ISBN 1-55652-516-8 ]

Folk music

It is common in folk traditions of choral singing of many peoples, especially in African musical cultures. In the West, it is most readily seen in the sea shanty, African-American work songs, military cadences, and the dance-songs of various European countries including France (particularly Brittany) and the Faroe Islands.

Classical music

In classical European music it is known as antiphony.

Popular music

The phenomenon of call and response is pervasive in modern Western popular music, as well, largely because Western music has been so heavily shaped by African contributions. Cross-over rhythm and blues, rock 'n' roll, and rock music exhibit call-and-response characteristics, as well. One example is The Who's song, "My Generation":

Where call and response is most apparent in the secular music arena is in traditional and electric blues, where the most common 12-bar form is an AA'B pattern where the AA' is the call (repeated once with slight variation), and B is the response. But, each A and B part may itself consist of a short call and a short response, and those 2-bar calls and response may also be divided into 1-bar-each call-response pairs.

To make an attempt at diagraming it:

*Twelve bars:
** A: 4-bar CALL
***(2-bar vocal CALL
**** [1-bar CALL, 1-bar RESPONSE]
***2-bar instrumental RESPONSE
**** [1-bar CALL, 1-bar RESPONSE] )

** A': 4-bar CALL (repeated with slight variation)
***(2-bar vocal CALL
**** [1-bar CALL, 1-bar RESPONSE]
***2-bar instrumental RESPONSE
**** [1-bar CALL, 1-bar RESPONSE] )

** B: 4-bar RESPONSE (repeated)
***(2-bar vocal CALL
**** [1-bar CALL, 1-bar RESPONSE]
***2-bar instrumental RESPONSE/turnaround
**** [1-bar CALL, 1-bar RESPONSE] )

Note that each turnaround can be considered a call which the next A section is the response to.

Leader/Chorus call and response

A single leader makes a musical statement, and then the chorus responds together. American bluesman Muddy Waters utilizes call and response in one of his signature songs, "I'm a Man," which is almost entirely Leader/Chorus call and response.

* CALL: Waters' vocal: "Now when I was a little boy"
* RESPONSE: (Harmonica/rhythm section riff)
* CALL: Waters': "At the age of 5"
* RESPONSE: (Harmonica/rhythm section riff)

Question/Answer call and response

Part of the band poses a musical "question", or a phrase that feels unfinished, and another part of the band "answers" (finishes) it. In the blues, the B section often has a question-and-answer pattern (dominant-to-tonic).

Question/Answer in Indian Classical Music

A distinct section in North Indian Classical Music is known as sawaal-javaab (question-answer). Primarily an instrumental technique, the sawaal-javaab occurs between two artists. One artist will present a melodically and rhythmically challenging riff which will be either replicated or improved upon by the other artist.

References

* [http://how-to-play-blues-guitar.com/blues-concepts/call-and-response/ Call and Response in Blues] - with references to blues songs and historical evolution.
* [http://bostoncommunitychoir.org/history_of_gospel_music.htm History of Gospel Music] - with references to call and response in black gospel music
* [http://www.uncloudydays.com Gospel Music History] - Gospel Music Encyclopedia citing the origins of the different types of call and response and different gospel music styles


Wikimedia Foundation. 2010.

Игры ⚽ Поможем написать курсовую

Look at other dictionaries:

  • Call and response (disambiguation) — The term Call and response may refer to*Call and response, a form of communication *Call and response (music), a type of musical phrasing or structure *Coro pregón or Call response , a genre of music *Call and Response (band), a Californian pop… …   Wikipedia

  • Call and response — is a form of spontaneous verbal and non verbal interaction between speaker and listener in which all of the statements ( calls ) are punctuated by expressions ( responses ) from the listener , as stated by Smitherman. [… …   Wikipedia

  • Call-and-Response — ist ein charakteristisches musikalisches Merkmal traditioneller afrikanischer Musik, das durch die aus Afrika verschleppten Sklaven Eingang in die afroamerikanische Musik Nord und Lateinamerikas gefunden hat. Das Prinzip basiert auf dem Ruf… …   Deutsch Wikipedia

  • Call and response — ist ein charakteristisches musikalisches Merkmal traditioneller afrikanischer Musik, das durch die aus Afrika verschleppten Sklaven Eingang in die afroamerikanische Musik Nord und Lateinamerikas gefunden hat. Das Prinzip basiert auf dem Ruf… …   Deutsch Wikipedia

  • Music of Cuba — General topics Related articles Genres Batá and yuka Bolero Chachachá Changui Charanga …   Wikipedia

  • Music of Nigeria — Music of Nigeria: Topics Hausa Igbo Yoruba Apala Fuji Jùjú Afrobeat Afro juju …   Wikipedia

  • Music of Martinique — General topics Related articles Genres Biguine Mini jazz Chouval bwa Jump up Kadans Zouk …   Wikipedia

  • Music of Nepal — Music of Nepal: Topics Ethnic music Newa music Gurung music Tamang music Khas music Mithila music Sunuwar music Magar music Bhojpuri music Sherpa music Thakali music Chepang music Rai music Tibetan music Lepcha music Limbu music Kusunda music… …   Wikipedia

  • Music of Iran — A historical painting from Hasht Behesht palace, Isfahan, Iran, from 1669. General topics Dastgah • Radif • …   Wikipedia

  • Music of Washington, D.C. — Music of the United States AK AL AR AS AZ CA CO CT DC DE FL GA GU HI IA ID IL IN KS KY LA MA …   Wikipedia

Share the article and excerpts

Direct link
Do a right-click on the link above
and select “Copy Link”