Call and response

[jeffy@lewhoosh.umd.edu (Jeffrey C. Burka)]

Ken Brownfield tries to put down my use of "Army Dreamers" to show that
KaTe *has* used call and response...

>     Er...This isn't quite right.  She only sings "But he..."  The Male BVs
>for "What could..." tend to be a bit lower by default.  :-)  Not an excellent
>example, but close.

Where did you come up with the idea that both the call and the response
has to be sung by the same person?  Call and response, amongst other common
"rock" techniques grew out of the black relgious music of the south, in
which, yes, that's right, it was typical for the response to be sung by the
"BVs" (ie the rest of the choir).

>This happens to be very alone, if my memory serves me

That depends on how much we distort the definition.  How about "Waking
the Witch" on which KaTe sings both parts...that of the drowning woman
*and* the Witch Hunter?  At least in that case, there are no 'male' BVs
which, "...tend to be a bit lower by default."

What say you good people?

And how about a narrative song like "Night of the Swallow" in which there
are two characters sung in the first-person perspective by the same singer?
Isn't the chorus (the pilot) a "response" to the "call" in the verse (the
pilot's lover)?

Sure, this is nothing like the original idea of call and response, where
a one-line call is followed by a one-line response...but I have no idea how
else I'd classify "Night of the Swallow" (other than as one of her greatest
songs!) 


>>Okay, so I might be hard-pressed to come up with other examples...;-)
>
>     "other"?  ;-)

Nice sneer quotes.  Unfortunately, they'd only work if you'd proven my
original example to be faulty.

Jeff

-- 
|Jeffrey C. Burka                | "At night they're seen                 |
|                                |  Laughing, loving, 	                  |
|jeffy@lewhoosh.umd.edu          |  They know the way to be happy" --KaTe |