Musical Link 1: Vocal imitation between male soloist and male chorus

        “Waka” and “Ku Mai Ka Kali’a” may be from separate musical cultures, continents, languages, and styles; however, the structure of both pieces center around a basic imitative pattern. In the Hawaiian mele, the vocal structure is very simple – a male soloist sings a full line, and as he hits the last pitch the chorus (here, the other two male vocalists) repeats the same line, using the same rhythms and pitches as the first presentation of the line save for a split (of an octave, achieved through use of falsetto) at the end of each line, which creates a slightly thicker texture. Each of the four lines which are repeated in this manner are separated by instrumental break and the refrain (with the exception of the first two lines, which are not separated by the refrain). The refrain here is sung by all three vocalists, making it slightly louder, and the rhythm differs slightly from the non-refrain lines. The lyrics of the refrain are stated below:

“Liko ka pua kukui, i ka ula hiwahiwa, kahi e moe ai ke kumupa’a, he aloha, he aloha e”

        If each line was considered a new “theme” and the refrain was labeled “R”, the structure of the piece would appear A-B-R-C-R-D-R-R.

        “Waka” uses this same structure of imitation between a male soloist and male chorus. Both imitation and call-and-response techniques are very common in sub-Saharan African music, and it is exactly these techniques that make up the structure of “Waka”. First, the soloist introduces a long phrase, which is chant-like but also has definite rhythm and pitch. As soon as he finishes, a large male chorus repeats it with very little to no variation. This is used throughout the piece, much like the Hawaiian mele. However, unlike the mele, the same phrase is repeated back and forth many times before moving to the next phrase (anywhere from two to six times), and there is no “refrain” that is returned to.  Towards the end of the piece (beginning at 5:32 and at 6:27 in the provided recording), this imitation gives way to an overlapping call and response, but this remains between the same soloist and chorus.

        The same imitation structural technique used in both the Hawaiian piece and African piece give similar affects, as if there is a leader and a group of followers singing/chanting together. Easy to follow and catch on to, this technique also allows some freedom for variation, improvisation, or creation of new lyrics or rhythms for the soloist. Because it is they who “introduce” each phrase, the chorus will simply follow and repeat whatever they produce. This structure is a salient link between these two pieces and cultures.