The biniou plays the melody continuously, while the bombard takes breaks, establishing the call-and-response pattern.

He also employs various rhyme schemes and phrasal techniques, at one point even using a call-and-response pattern.

It corresponds to the call-and-response pattern in human communication and is found as a basic element of musical form, such as verse-chorus form, in many traditions.

These were commonly structured around a repetitive call-and-response pattern, but early blues was also highly improvisational.

The African traditions made use of a single-line melody and call-and-response pattern, but without the European concept of harmony.

The patterns and riffs were steady and unhurried, a transparent lattice of notes; his voice was relaxed but determined, sometimes in a call-and-response pattern with his percussionists.

Improvisation allows for a kind of communication between players known as a call-and-response pattern.

Many historians attribute the call-and-response pattern in jazz to this early form of African-American music.

However, at the time rural Black music began to get recorded in the 1920s, both categories of musicians used very similar techniques: call-and-response patterns, blue notes, and slide guitars.

In gospel, the call-and-response pattern of the preacher and his congregation was incorporated into the music.