[Lessons]
[Audio]
[Bands]
[Biography]
[CD]
[Contact]
[Gear]
[Gigs]
[Lessons]
[Links]
[Listening]
[Music]
[Photos]
[Projects]
[Quotes]
[Reading]
[Studio]
[Sheet Music]
[Shop]
[Thanks]
[Tips]
[Writings]

Lesson 132: Composition Using Call and Response and Motivic Ideas

Example 1: Call and Response and Motivic Saturation

Check out the following motif and call and response pattern:

 	Motif 1	( Call)		| 	Response		|
 	Motif 1	( Call)		| 	Response Variation	|
 	Motif 2			| 	Sequence of Motif 2	|
 	Conclusive Phrase - - - - - - - - - - - - - - - - -	|

Try to come up with a melody that follows this pattern. This is what I came up with:

I admit that it isn't the greatest melody in the world, but it is a melody nevertheless. And it is a good example of the idea/ technique - and maybe you come up with something better?

Example 2: Call and Response

The call and response pattern in Mah-Ná Mah-Ná by Piero Umiliani is:

 	Call		| 	Response	|
 	Call		|  Response Variation	|
 	Call		| 	Response	|
 Conclusive Phrase from Response & Variation	|

Try to write a melody that uses this pattern. It may be a good idea to use 4 bar phrases like in the first example.

A composition of mine I have called Heal, Rise follows the same type of pattern. The conclusive phrase does now draw from the response patterns but could be considered a response to them. Here is the lead sheet:

You can listen to it here.

© 2014 Tomas Karlsson. All rights reserved.