Call and Response

Lesson 2/182 | Study Time: 5 Min

Course: Complete Saxophone

Call and Response

Call and response is sometimes described as a "question and answer" style. It is found in almost all styles of music and originally comes from the Blues. Another common place to hear call and response is in Gospel music where the "call" is made by the preacher and the "response" is made by the congregation. The simplest form of call and response is direct imitation. This is demonstrated in the example below where the guitar (call) is answered by the sax (response). This type of playing is lots of fun as well as being great ear and memory training. On the recording, a space is left for you to play the response on the repeat.

In the following example, the sax once again answers the guitar, but this time the sax line is a variation rather than an exact repetition. When two musicians play like this it becomes like a conversation, which is very satisfying musically as well as being entertaining for the listener. Try getting together with another musician and playing call and response along with a recorded background. If you are playing the first part (call) make clear statements that are easy for both the other player and the listener to follow. If you are playing the second part (response), make sure your part relates strongly to the call rather than playing a totally different idea. On the recording, a space is left for you to play the response on the repeat.

One of the most common situations where call and response is used is when you are playing fills in between lines sung by a vocalist. This is demonstrated in the following example. The trick here is learning to play lines that fit well between the vocal lines instead of running over the top of them.

One more interesting way of using call and response is between two different octaves or two different ideas on the same instrument, as shown in the following example. Experiment with this type of playing when you are improvising.

Here is a solo which makes use of almost everything you have learned so far. There are many symbols and markings on the music, which means you can see very specifically how the notes are to be played. Take your time with it and be sure to get all of the expressions, techniques and articulations. Listen to the CD several times until you are confident you can reproduce all of the sounds. As mentioned earlier, most written music doesn’t contain this much detail on how to play the notes, so you will need to be aware that any of these expressions and techniques may be used in whatever you are playing. The more you listen to good sax players (both live and on albums) the more you will come to understand and instinctively know where each sound will work and where it won’t.

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1- INTRODUCTION 2- Parts of the Saxophone 3- Tuning Your Saxophone 4- The Note B 5- The Note F 6- The Lead-In 7- The Eighth Notes 8- The Note D in the Middle Register 9- The Sharp Sign 10- The Note Low C 11- Syncopation 12- The Note E Flat 13- The Triplet 14- The Note C Sharp 15- The Note G Sharp or A Flat 16- The Chromatic Scale 17- Playing in all Keys 18- Transposing 19- More on Blues Scales 20- Improvisation 21- New Notes 22- Intervals 23- Understanding Chords 24- Chord Construction 25- Seventh Arpeggios 26- Rhythms Using Triplets 27- Expressive Techniques 28- Sixteenth Notes 29- 16th Note Set Rhythms 30- Articulations 31- Ghost Notes 32- Bending Notes 33- Call and Response 34- Minor Keys and Scales 35- Relative Keys 36- Simple and Compound Time 37- The Sixteenth Note Triplet 38- Dynamics 39- Modes 40- Scale Tone Chords 41- Seventh Chord Types 42- Scale Tone 7th Chords 43- The 2 5 1 Progression 44- Other Chord Types 45- Chord Substitution 46- Guide Tones 47- Altered Chords 48- Harmonizing Minor Scales 49- Learning Song Forms 50- APPENDIX ONE 51- APPENDIX TWO 52- GLOSSARY OF MUSICAL TERMS 53- Using the Complete CD 54- Putting the Saxophone Together 55- How to Read Music 56- Duets 57- Slurs 58- The Tie 59- Using the Octave Key 60- The C Major Scale 61- The Blues Scale 62- Swing Rhythms 63- The D Major Scale 64- The A Major Scale 65- More About Major Scales 66- Using the Key Cycle 67- Developing Rhythmic Control 68- High Notes 69- Interval Qualities 70- Arpeggios 71- Double Sharps and Double Flats 72- Alternating Thirds 73- Vibrato 74- Tempo Markings 75- Repetition and Variation 76- Accents 77- False Fingerings 78- Dip Bending 79- The Harmonic Minor Scale 80- Learning a New Minor Key 81- Swinging Sixteenth Notes 82- Volume Changes 83- Names of the Modes 84- Scale Tone Chord Arpeggios 85- Learning to Play Seventh Chords 86- Scale Tone 7th Pattern 87- 1 Becomes 2 88- Memorizing Chord Types 89- Substituting Two Ahead 90- Practical Use of Guide Tones 91- Learning Altered Chords 92- Minor Key Progressions 93- Play-Along Recordings 94- Before You Begin 95- Attaching the Mouthpiece 96- Chord Symbols 97- Key Signatures 98- 12 Bar Blues 99- Riffs 100- The Key of C Major 101- Enharmonic Notes 102- First and Second Endings 103- The Note D Flat 104- The E Major Scale 105- Accidentals 106- Improvising With Set Rhythms 107- Two Octave Scales 108- Interval Distances 109- Chords Transposed for Accompaniment 110- Growling 111- Tempo Changes 112- The Trill 113- The Melodic Minor Scale 114- Table of Minor Scales 115- The Twelve Eight Time Signature 116- Thirty Second Notes 117- Modal Tonalities 118- Major Key Triad Pattern 119- Dominant Sevenths 120- Scale Tone 7ths in all Keys 121- 5 Becomes 2 122- Extended Chords 123- Scale Tone Seventh Substitution 124- Other Guide Tones 125- Sharp Eleven Chords 126- Minor Key Modes 127- Jazz Terminology 128- Attaching the Reed 129- Keeping Time 130- Breathing Technique 131- The G Major Scale 132- Two Octave C Major Scale 133- Practical Use of Enharmonic Notes 134- The 8va Symbol 135- Intervals in Sequences 136- Improvising With Arpeggios 137- Sixteenth Note Figures 138- The Fall-Off 139- Cut Common Time 140- Scale Tone Chords in all Keys 141- Minor Sevenths 142- Other Common Progressions 143- Eleventh Chords 144- Relative Substitution 145- Guide Tones in Modes 146- Higher Extensions in Minor Keys 147- Rhythm Changes 148- Attaching the Neck to the Body 149- Where To Breathe 150- Other Useful Exercises 151- More on Key Signatures 152- Mixing Different Scales 153- Learning Intervals in all Keys 154- Augmented and Diminished Arpeggios 155- Using Modes in all Keys 156- Common Progressions 157- Practicing Scales and Arpeggios 158- Learning Standards 159- Thirteenth Chords 160- Dominant Minor Substitution 161- Substitutions in Minor Keys 162- Blues Changes 163- How to Hold the Saxophone 164- Posture 165- The Key of F Major 166- Identifying Intervals by Ear 167- How to Learn a New Progression 168- Minor 7 Flat Five Chords 169- Learning New Chords 170- Tritone Substitution 171- Blues Changes Using Substitutions 172- Fingering Numbers 173- Harmonic Intervals 174- Diminished 7th Chords 175- Listening 176- Fingering Diagram 177- The Saxophone as a Transposing Instrument 178- Transcribing 179- Playing Your First Note 180- Transposing Chart 181- Serving the Song 182- Tonguing

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Call and Response