What part did call and response play in the development of blues?

i know what call and response is. but i need to know what part it plays in the development of blues.

You must be in the same class as the other person who asked this question., so I'll just copy & paste my answer;

The call and response of field songs, work songs, hollers, etc. was supplanted by an interplay between voice and instrument in blues. This is readily discernible in the music of Delta bluesmen such as Charlie Patton, Tommy Johnson, Son House, & Robert Johnson. A steel knife or a bottleneck in the hands of a master musician can sound much like the human voice. I believe that the incorporation of the harmonica had as much to do with it's ability to provide another "response" as it did with the cost/portability of the instrument.

So.....the long history of call and response in the black tradition had a large role in the development of the blues.

No call, no response, NO BLUES.

I think i may know the answer to this, I took a history of blues and jazz class last symester. There were several types of early blues: field holers, spirituals, early gospel songs and call and response. Call and response was a way for the workers to transcend the long work hours they had as slaves, and blues was similar in this way. Sung by slaves lementing their situations. Also call and response came before blues, blues evolving from it. ---

it syncs with the blues progression, you have the call (I), the slightly altered call to build tension and stress emotion (IV), and the response to release (V).

to add to the great answers thus far......

take a REALLY serious listen to BB King's music. He uses call and response in MANY of his songs. BB does the call and Lucille provides the response.

Call and response was prevelent in African music (and still is) from the dawn of singing itself. Thus, as slaves were brought to the colonies, so too did as much of their culture and herritage as they could manage to hold onto.

This call and response has ALWAYS been a par of African-American music.

TWO people posted the same question yesterday. If y'all can't do your own homework, can you AT LEAST look through the board a little to see if the answer is alreadyhere?

After all, it is only TWO QUESTIONS down from yours!

Hey, junior! Do your own **** homework! Try using the internet for something other than games or looking at porn!

its the main source of improvisation, you say HAY !!
i say HAY YEA ! you say HAY YEA NOW ! i say HAYEE !
ALL NIGHT LONG ! now you beat on a box an the blues is
knocking on your door.....

In general a traditional Delta Blues song will have a line sung, then repeated, then answered. That first line that is repeated is the call and the response is the third line that answers back to the original line. For instance, take Muddy Waters' classic "Rollin' and Tumblin'":

Well, I Rolled and I Tumbled, Cried the Whole Night Long (call)
Well, I Rolled and I Tumbled, Cried the Whole Night Long (call repeated)
Well, I Woke Up This Morning, Didn't Know Right From Wrong (response)

This form of songwriting is still used in blues today, but was much more prevalent in early Delta Blues. Most of the performers of that day had worked in cotton fields, so this structure came very natural to them. If you really want to learn about the origin of blues music, I recommend 2 books that I read last year. "The Land Where Blues Began" by Alan Lomax and "Deep Blues" by Robert Palmer. Both were very informative and relatively easy to read and both authors performed extensive research in the field to obtain their information. I hope this answers your question a little better.