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
West African cultures, call and response is a pervasive pattern of
democratic participation in religious observance; public gatherings; even in children's rhymes; and, most notably, in
African-American music in its myriad forms and descendents 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. Known under the
Spanish term
coro-pregon, it can be found in
Afro-
Latin music based on religious chants.
It is common in
folk traditions of choral singing of many peoples, especially in African musical cultures.
In classical European music it is known as
antiphony.
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:
|
"My Generation" vocal melody with response (Middleton 1990) |
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:
* 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.
A single leader makes a musical statement, and then the chorus responds together. American bluesman
Bo Diddley utilizes call and response in his "I'm A Man," which is almost entirely Leader/Chorus call and response:
* CALL: Diddley's vocals: "Now when I was a little boy"
* RESPONSE: (Harmonica/rhythm section riff)
* CALL: Diddley: "At the age of 5"
* RESPONSE: (Harmonica/rhythm section riff)
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).
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.
*
History of Gospel Music - with references to call and response in black gospel music
*
Gospel Music History - Gospel Music Encyclopedia citing the origins of the different types of call and response and different gospel music styles
