GUITAR SOLOING: LESSON 009 - Stronger Phrasing with Call & Response

September 29, 2017:
Lesson 009 - Stronger Phrasing with Call and Response

The technique known as "Call and Response" is a concept that is often explained as something that occurs between more than a couple of musicians. One of the players in a group will set out an initial statement, (the Call), while another musician in the group replies to that statement, (the Answer). 

Lesson 009 explores this idea in detail... 

The examples in this lesson will work well to improve your your lead playing. Each example will build on ideas like; phrasing into similar and different resolution tones, application of the technique around diverse rhythms, and applying "Call and Response" method to chords.

Watch the Part One Video FREE on YouTube:

PART ONE:  In example one, a key of "F major" phrase focuses on chord tone resolution where the chord tone of the initial statement points in a similar manner to the chord tone of the secondary (response) statement. Each phrase highlights the tone of "A" from the key and resolutions to this particular tone are of central importance to the example. 

Example two relies on phrasing and resolution once again. However, this time a different resolution tone is the focus. The melodic idea is performed within the key of "G Minor" and guides the listener into two different resolution tones between the "Call" statement and the "Response." The "Call" statement points to the key's fourth interval, the "C" tone. And, the "Response" statement points to the key's seventh interval, the "F" tone.

PART TWO: In example three, we are focused upon the application of more diverse rhythmic patterns. Our call and response phrase is operating in the key of "D Minor" over a punchy 16th-note pattern. The point of resolution operates against a similar tone principle, pointing at "C" tones. The use of arpeggio lines is also a serious part of this example. Chord outlines using arpeggios bring in both the Call as well as, the Response statements, ("Dmin7" and "Bb major" arpeggios).

Example four adds small chords to the call and response phrasing technique. The advantage of using smaller chord types allows for more rapid melodic movement while maintaining harmony arranged to suit the phrasing. In the example, a key of "D Major" call and response statement demonstrates how a series of well arranged diatonic triads can create a strong call and response phrase over four measures.
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