- Jun 2023
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The musical depiction of the lyrics from Figure 9.2 illustrates an additional aspect of bluesperformance practice—the use of call and response. Originally practiced by a large groupof people, this improvisational technique involves sharing ideas between the leader andher/his followers. Mastering the call and response technique is especially important at thebeginning of our encounter with jazz improvisation. It engages us in a meaningfuldialogue that includes exchanging and communicating musical ideas. The communicativeaspect of call and response is relatively straightforward in the context of verbal conversation.
In a musical setting, however, when spoken words and sentences are replaced with motifs and melodic phrases, the structure of the call and response might not be as obvious. To be a good communicator, we have to know how to listen, pay close attention to what the other musicians are playing, and try to be receptive to their ideas. In certain scenarios, however, the use of call and response technique might create less than desirable effects. For instance, when the call and response takes the form of exact and immediate repetition, it might be impressive but not necessarily in keeping with the surrounding musical context. A much more subtle way of thinking about the call and response technique involves musical interaction at the level of the entire performance in which non-adjacent sections relate to one another, and where the flow of the performance is regulated by logically introduced musical ideas. In creating a musical narrative, then, we can also respond to each other’s playing, but these responses are not as obvious as simple repetitions tend to be. We can demonstrate our listening skills, for instance, by incorporating an idea that we have previously heard (i.e. a rhythmic motive from the drummer, or a melodic gesture from the guitarist) and develop it in such a way that leads to a more satisfying musical discourse. The call and response aspect of improvisation means that musicians understand each other’s intentions, have an unspoken agreement, so to speak, and project them with a high level of personal expression and musical commitmen
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Call and response
https://docdrop.org/pdf/Kernfeld---2002---Call-and-Response-lrg5i.pdf/
Call and response Kernfeld, B. 2003
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docdrop.org docdrop.orgJazz1
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Polyrhythm, call-and-response, and syncopation
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