A call and response song is a musical form where a leader (the "caller") sings or plays a phrase, and then a group of musicians or the audience (the "responders") repeat or respond with a different phrase. This creates a back-and-forth interaction that adds energy and engagement to the music. It is commonly used in various Music Genres like gospel, blues, and traditional African music to create a sense of unity and participation among the performers and listeners.
In music, the term "tag" refers to a short musical phrase or section that is repeated at the end of a song or a section of a song to create a sense of closure or finality.
A refrain in music is a repeated section of a song that typically comes after each verse. It serves as a chorus or a hook that is often catchy and memorable, helping to unify the song and create a sense of structure and familiarity for the listener.
In music, the term "groove" refers to the rhythmic feel or pattern that makes a song or piece of music catchy and easy to dance or move to. It is the underlying beat or pulse that drives the music forward and creates a sense of flow and cohesion.
In music, the term "bar" refers to a segment of time in a piece of music that is marked by a specific number of beats. It is also known as a measure and helps musicians keep track of the rhythm and structure of a song.
In rap music, the term "bar" refers to a single line of lyrics in a song. Each bar typically contains a set number of beats and is a fundamental unit of rhythm and rhyme in rap music.
music and lyrics = song music and no lyrics = music
Call and response is common not only in Samba music but in many forms of jazz and even popular music. It is when an instrumentalist or singer will play a phrase, and either another member of the band or the audience will repeat that phrase back or at least a variation of the phrase. Check out Cab Calloway's "Minnie the Moocher" from The Blues Brothers Soundtrack and watch his interaction with the audience. Though this isn't Samba music, it's the same idea for call and response. For some call and response where two musicians go back and forth, but vary their responses, check out Béla Fleck and the Flecktones: Live at the Quick. The song "Big Country" has some fantastic call and response between Victor Wooten on bass and Jeff Coffin on sax.
A work song is typically a melody with a call-response format, and will be quite bluesy. Call-response because that would help you in slave labour - to have a leader sing a call, and then you sing the response, shovelling more dirt with every line of the song. It is likely to be bluesy because that would describe the emotions of the labouring slave. A famous jazz work song is 'Work Song' by Nathaniel Adderley, found on 'Them Dirty Blues' by Cannonball Adderley (1960). This is a perfect example of the influence of slave work songs on popular jazz music. Other songs from this album do not have this call-and-response quality and are less bluesy, so are not work songs.
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Call-And-Response Verse and chorus
The song style that involves a group imitating a leader is called "call and response." In this format, a leader sings or plays a phrase (the "call"), and the group responds with a repeated phrase or variation (the "response"). This style is commonly found in various musical traditions, including African, gospel, and blues music, fostering a sense of participation and community.
Instrumental.
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A traditional West African Call and Response Song
Sentimental music is music that triggers an emotional response. If a child seems happier or sadder when listening to the Barney song then that music is sentimental to that child. Say you and your mate loved a particular song, a song that in time made both of you feel better, happier, and in time it made you also feel nostalgic. Then if you lose that mate, the song may have the opposite effect, making you feel sad. In each case the song is sentimental but depending on circumstance can cause a different emotional response.
Verse and chorusBoth call-and-response and verse and chorus
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