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Call and response


Triple-o

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In the song “Autumn Leaves” the phrases       the falling leaves...... drift by my window......the autumn leaves.....of red and gold. Are these  example of call and response.

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I would say no. One guitar player or singer responds directly to the other. 

I think Reo Speedwagon has a great example in the live version of "157 Riverside Avenue". Gary and Kevin are going back and forth around 4:00 minutes into the song.

157 Riverside Avenue

Call and Response definition

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I might add it doesn't have to be two people, albeit singer/guitarist or two guitarists.  In acoustic blues you can have a melody lick that is then "answered" by the vamp with only one guitarist.  I'm sure others here can delve deeper than my over-simplification.

 

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Wikipedia;  "In music, a call and response is a succession of two distinct phrases usually written in different parts of the music, where the second phrase is heard as a direct commentary on or in response to the first. It corresponds to the call-and-responsepattern in human communication and is found as a basic element of musical form, such as verse-chorus form, in many traditions.

https://en.wikipedia.org/wiki/Call_and_response_(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. The Who's song "My Generation" is an example:[13]

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Thanks

So, when looking at the chord melody exercise on p93, if I played the melodic lines given then strummed the rootless Cmaj7 and B maj 7 I would infact have a call and response.

Then I could apply that same technique to my Autumn Leaves or Swingin solo.

Then I could reverse the process for Jazz Blues solo. Make a melody from the chord tones and strum or pluck the chords.

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Call and Response is a common pattern of blues phrasing. This concept is not only present in vocal blues, but also in the development of many instrumental blues solos. So you can definitely have a conversation with yourself in your own improvisation.

It doesn’t have to be in the context of a 12-bar blues, but some sort of symmetrical form is helpful. Many tunes have four- or eight-bar sections that can easily be divided into one-, two-, or four-bar chunks for the purpose of call and response.

One way to do this on a 12-bar blues form is to treat each third of it as a small three-phrase segment. That is, a short, rhythmically similar phrase is played in each of the first two bars, while the next two bars contain a longer line that seems to answer the first two. This repeats for both of the remaining four-bar segments.

Another device within the framework of call and response is to jump between higher and lower registers. This range jumping idea can be applied to a tune with more chord changes and a swinging rhythm. It’s a good effect to use sparingly.

Call and response was a prominent feature of the musical environment that helped to shape the jazz style and continues to appear throughout the tradition in compositions and in solo statements.

To get a better sense of this concept follow the link: Five Types of Call and Response Phrases.

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I Thanks again. 

The other thing that helps, is to also think, in terms of  a “Question and Answer”. I had come across the call and response  example ....“Shave and Hair Cut” (the call or question) “two bits” ( the response or answer). That is what got me  thinking about Autumn  Leaves.

Music without lyrics seems more like “abstract art”. The fact that most people were referring to music as a language was pretty confusing.Thinking of instrumental music as being  an equivalent of “Abstract Art” has drastically changed my perception. The language term is not quite as murky. 

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in the Song Hits DVD series , Steve calls the song Day Tripper a 'call and response' blues song.

where you're doing a few bars in E riff then switch to a quick few bars of A riff, then back to E.

I really don't hear it that way, and the lyrics don't suggest it. I'll take Steve's word for it.

 

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I wonder if he was talking about

got a good reason......for taking....

got a good reason.....for taking....

 

 

I did see something where Rollingstone magazine made a reference to the bright “call and response” in the song and a blues format.

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Maybe.

But maybe if I took what they were on that day, maybe I'd play it half decently 

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The 12-bar blues form serves as a springboard for “Day Tripper.” The verses begin with two four-bar phrases that follow the typical poetic, harmonic, and instrumental guidelines of the blues. Actually, I can hear the common call and response pattern of blues phrasing in the melody, while the ostinato riff opens and unifies the whole song. The third phrase is extended to eight bars, and in my mind serves as a punch line.

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