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Jam Tracks in All Keys, Volume 1

Release date: March 3, 2020

Official web site:

www.NAFTracks.com

Jam Tracks in A Minor on: Amazon, CD-Baby

UPC: 8-88295-97200-0

ASIN (Amazon): B0012RR1KC

Total length: 588 tracks / 24+ hours

Catalog #: MSR-NT05


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Jam Tracks in All Keys, Volume 1

This digital album is a huge collection of background tracks provided on an USB flash drive:

  • 588 tracks
  • 24+ hours of music
  • 20 songs in all 12 keys and various lengths

NAFTracks is a series is designed to accompany you when playing Native Flutes. You can use them to:

  • Practice improvising and jamming with a given key flute
  • Play specific melodies
  • Use as backing tracks in performance

All tracks were composed and performed by Ron Volkman. The album was engineered by Clint Goss and issued under the Manifest Spirit Records label. They are provided as high-quality MP3 music files that you can play directly from the USB drive or copy to your computer and play using your computer’s sound system.

Lengths and Variants of the Tracks

There are tracks for each of the 20 songs in each of the 12 possible keys. In addition, there are 2 or more variants of each track in each key, so that each song has between 24 and 48 tracks.
Here are the details of each variant:

Song

The first 12 tracks of each song are the standard, or “Song”, variant. These tracks are typically 2½ to 3½ minutes long and are ideal for performing and recording.

Jam

One song, In the Spaces, has a “Jam” set of 12 tracks. This is simply the “Song” variant without the lead melody, letting you just jam and have fun.

Long

Some tracks have a “Long” variant of 12 tracks. These are simply longer versions of the “Song” variants – typically 1 – 1½ minutes longer. This lets you play an extended performance or gives an opportunity for more jamming time with the song.

Loop

Finally, the “Loop” version is special: It is typically about 1 minute long and is intended to be played on a music player application that has a “Loop” or “Replay” function or button. If you engage that function and play the track over and over again, the end of the track blends with the start of the track, so you can jam to the background music indefinitely. This is great for really getting the feel of the piece. You can also use this at flute circles and workshops to let people take turns playing over the background.
Note that the Loop version In the Spaces has no lead melody.

The Songs

Each of the songs has a sample of the short, looped version of the song, all in A minor.

1. Of a New Day

A mellow, free-flowing piano piece with a choir background. The rhythm varies slightly, making it great for long tone playing and free improvisation.

2. Southern Lights

A 'groove' piece with guitar and bass and a straightforward chord structure.

3. Minor Day

A piano solo with thick harmonies that supports a strong melodic structure. The middle section moves into major and provides a change of feel.

4. Beagle Dance

A bright, up-tempo piece with electric piano, bass, and percussion. The cheerful feel supports light playing with lots of ornaments.

5. Sunrise

A mellow, cinematic feel with grand piano and string ensemble. An expressive flute lead with long tones and vibrato is a good match for this piece. The ending is signaled by the slowing tempo.

6. Quiet River

A piano solo with a graceful mood and a descending melodic arc. Ideal for a delicate melody and expressive playing.  

7. Winding Way

A backing track infused with dissonance and a haunting rhythmic pattern. This is an ideal piece to explore the full range of cross-fingered notes available on your instrument.

8. Dawn

A piano solo with a fluid rhythm that supports an expressive and bold flute lead. The ending is signaled by a softer touch and a slowing tempo.

9. Dusk

A cinematic theme scored with piano and strings. The main theme is in a major key, so try starting one note up from the bottom note on Native American flutes.

10. Golden Bird

A dramatic, driving rhythm on bass and percussion are supported by strings, choir, and a distant electric guitar. It can be played in a 12-bar blues style and is also ideal for trying new techniques and avant-garde playing. The ending is signaled by a bass solo.

11. Fourth Realm

Fourth Realm is named for the use of chords that use both modes one and four of Native American flutes. It also uses an A-B-A structure that emphasizes those chords. You can play freely and center your melodies on the various notes that sound best in different parts of the song. The ending is signaled by a fade-out.

12. Pan Dance

An up-tempo piece that sits right in the minor pentatonic scale. With the rhythmic tempo, you can play long tones in the minor pentatonic scale or whatever you choose.

13. September Rain

Patterned after the sound of steady rain drops.

14. Stargazer

A pensive, rhythmic piece that uses an electronic ensemble combined with Tibetan bells, bass, and drums. The ending is signaled by the bass and choir solo.

15. Silk Threads

The repeating pattern on this track works with both high and low flutes. It provides a simple chord structure that works well with a straightforward melody played expressively with vibrato.

16. Birch Bounce

A fun jam with a lot of space for instruments or rhythm. It works with simple minor pentatonic notes and players can jam continually or in the spaces. Also, rhythm can play in the spaces. Players can trade riffs or sounds in alternating spaces. Just have fun ...

17. Silent Stream

A graceful support track with electric piano and full ensemble. The long-held chord signals the ending.

18. Code Seven

A simple, pensive chord pattern designed for free improvisation.

19. Spanish Gypsy

A backing track in the style of Sephardic music. This track is designed to be played in the Spanish Gypsy scale on the Native American flute.

20. In the Spaces

A piece designed for call and response or conversations. You could echo the lead and try to match the notes that are played. You could pick up on the last note of the lead and complete the phrase. You could also play a melodic counterpoint – responding to low phrases with high phrases and responding to high phrases with low responses. Another choice is to flip the direction of the phrase – responding to rising phrases with descending responses and vice versa. There are also variants of the song without the lead so that you can just jam and have fun.

 




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