In a musical setting, however, when spoken words and sentences are replaced with motifs
and melodic phrases, the structure of the call and response might not be as obvious. To
be a good communicator, we have to know how to listen, pay close attention to what
the other musicians are playing, and try to be receptive to their ideas.
In certain scenarios, however, the use of call and response technique might create less
than desirable effects. For instance, when the call and response takes the form of exact
and immediate repetition, it might be impressive but not necessarily in keeping with the
surrounding musical context. A much more subtle way of thinking about the call and
response technique involves musical interaction at the level of the entire performance in
which non-adjacent sections relate to one another, and where the flow of the performance
is regulated by logically introduced musical ideas. In creating a musical narrative, then,
we can also respond to each other’s playing, but these responses are not as obvious as
simple repetitions tend to be. We can demonstrate our listening skills, for instance, by
incorporating an idea that we have previously heard (i.e. a rhythmic motive from the
drummer, or a melodic gesture from the guitarist) and develop it in such a way that leads
to a more satisfying musical discourse. The call and response aspect of improvisation means
that musicians understand each other’s intentions, have an unspoken agreement, so to
speak, and project them with a high level of personal expression and musical commitmen