Well, that title certainly is a mouthful. But it is just a fancy way of saying “call & response.” Everyone has probably experienced some form of practicing call & response, as it is used in blues, camp songs, jazz improvisation, polychoral music, and more. One voice (or group) plays one thing as the “call,” and the other voice plays something back as the “response.” While the “response” can be an absolute copy of the “call,” this tip post will feature different opportunities of contrast.
First: different registers. It is a bit easier incorporating this when you have a large ensemble; but even with a single instrument try bouncing between the two low/high extremes of the voice range.
Second: different intervals. Simply put, one theme can be all stepwise in motion, while the other uses leaps.
Third: different contours. Contour is the shape of the line. So, one can go in one direction while the other goes in the opposite.
Fourth: different instruments. Every instrument has their own timbre, or color of sound. Alternating between the voice-like sound of a high-registered cello and a breathy low-voiced flute can be a beautiful contrast.
Fifth: different techniques. Not only do instruments have their own unique timbre, but they also have their own techniques, too. String instruments can both be plucked and bowed, and alternating between the two possibilities in a call & response format can bring beautiful contrasting colors as well as highlights to the melody.
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