digplanet beta 1: Athena
Share digplanet:

Agriculture

Applied sciences

Arts

Belief

Business

Chronology

Culture

Education

Environment

Geography

Health

History

Humanities

Language

Law

Life

Mathematics

Nature

People

Politics

Science

Society

Technology

This article is about call and response as a musical pattern. For other meanings, see Call and response (disambiguation).
"Answer (music)" redirects here. For fugal answer, see Fugue § The exposition.
Call: "Shave and a Haircut", Response: "Two bits". About this sound Play .

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 as a basic element of musical form, such as verse-chorus form, 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, rock and roll, jazz and hip hop.

Call and response patterns between two musicians are common in Indian Classical Music, particularly in the style of Jugalbandi. Call and response is likewise widely present in parts of the Americas touched by the trans-Atlantic slave trade. It is extensively used in Cuban music, both in the secular rumba[1] and in the African religious ceremonies (Santería).[2]

Folk music[edit]

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

Classical music[edit]

In classical European music it is known as antiphony.

Popular music[edit]

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. Three examples are The Who's song "My Generation",[3] "Black Dog" by Led Zeppelin,[citation needed] and The Pogues' "Fairytale of New York":[citation needed]

"My Generation" vocal melody with response.[3] About this sound Play 

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 diagramming it:[citation needed]

  • 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[edit]

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, "Mannish Boy" which is almost entirely Leader/Chorus call and response.

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

Another example is from Chuck Berry's "School Day (Ring Ring Goes the Bell)".

  • CALL: Drop the coin right into the slot.
  • RESPONSE: (Guitar riff)
  • CALL: You gotta get something that's really hot.
  • RESPONSE: (Guitar riff)

A contemporary example is from Carly Rae Jepsen's "Call Me Maybe".

  • CALL: Hey I just met you
  • RESPONSE: (Violins)
  • CALL: And this is crazy
  • RESPONSE: (Violins)

This technique is utilized in Carly Rae's song several times. While mostly in the chorus, can also be heard in the breakdown (approximately 2:25) between the vocals ("It's hard to look right") and distorted guitar.

Question/Answer call and response[edit]

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).

An example of this is the Christmas song Must Be Santa:

CALL: Who laughs this way, ho ho ho?
RESPONSE: Santa laughs this way, ho ho ho!

A similar question-and-answer exchange occurs in the movie Casablanca between Sam and the band in the song Knock On Wood:

CALL: Who's got trouble?
RESPONSE: We've got trouble!
CALL: How much trouble?
RESPONSE: Too much trouble!

Question/Answer in Indian Classical Music[edit]

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[edit]

  1. ^ Orovio, Helio 2004. Cuban music from A to Z. Revised by Sue Steward. ISBN 0-8223-3186-1 A biographical dictionary of Cuban music, artists, composers, groups and terms. Duke University, Durham NC; Tumi, Bath. p191
  2. ^ Sublette, Ned 2004. Cuba and its music: from the first drums to the mambo. Chicago. ISBN 1-55652-516-8
  3. ^ a b Middleton (1990). Studying Popular Music,[page needed]. ISBN 0-335-15275-9.

External links[edit]


Original courtesy of Wikipedia: http://en.wikipedia.org/wiki/Call_and_response_(music) — Please support Wikipedia.
This page uses Creative Commons Licensed content from Wikipedia. A portion of the proceeds from advertising on Digplanet goes to supporting Wikipedia.
490294 videos foundNext > 

call and response demonstration

Reginald Thomas (piano) and Alvin Atkinson (drums) demonstrate call and response. The song they are playing is Duke Ellington's "Perdido". The first example ...

"Call and response" in the Maasai Mara, Kenya

"Call and response" by children in the Sikirar village in the Narok district of the Maasai Mara region of Kenya. Me to We trip, January 2012.

Primary Music Lesson: Rhythmically Speaking: 11 Call and Response

Mark Taylor, director of Rhythmically Speaking, develops the samba ensemble with a call and response routine. This video was filmed as part of the Art of Tea...

Call and Response Technique

A cool technique to add interest in your tracks is the Call and Response. This video shows you how it can be used in modern music, even though it is most com...

Work Song Call and Response

Terry Fonda Smith leads the audience in a call and response activity to Adderley's Work Song at the February 28, 2010, Bebop to Bach Family Concert at The Ha...

The Cypress String Quartet's "Call and Response" program at Community Music Center

The Cypress String Quartet brought their "Call and Response" lecture and performance to Community Music Center's young musicians programs on March 3, 2012. T...

Music Theory for EDM Part 17: Melody 02 (Call and Response)

http://www.attackmagazine.com/

Call & Response @ Grat American Music Hall SF

Undiscovered cameras went back to The Great American Music Hall to visit one of the most fun bands we ever shot. Call & Response.

Kirtan: How Chants Can Heal the Heart.

Meditation doesn't come easy for many people. And that's where kirtan-an ancient participatory music experience-offers another method. Without the work of me...

Toom-bah-ee-lero - Teach Children an African Call-and-Response Song

http://www.DoReMeAndMaria.com - Drumming, dancing and singing, these preschool children are learning about African rhythms and music from World Music and Rhy...

490294 videos foundNext > 

We're sorry, but there's no news about "Call and response (music)" right now.

Loading

Oops, we seem to be having trouble contacting Twitter

Talk About Call and response (music)

You can talk about Call and response (music) with people all over the world in our discussions.

Support Wikipedia

A portion of the proceeds from advertising on Digplanet goes to supporting Wikipedia. Please add your support for Wikipedia!