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Frequently Asked Questions
How are the recordings produced?
Can I get a CD containing specific tracks from different recordings?
Yes. Compilation CDs are ideal for doing performances with a specific program. They are composed with your mix of specific tracks. Contact email@example.com for details.
Can I use NAFTracks background tracks in live performances?
Yes. Purchase of a physical CD grants you a license to use any of the tracks on that CD in live performances, as long as credit is provided. Credit may be provided verbally (during the performance) and/or in written form (eg. in a program). The credit should be:
“recorded music courtesy of NAFTracks.com. Song [name of song] by [author(s)] ”
Can I produce my own recordings using NAFTracks background tracks?
Yes! You may record yourself playing with any NAFTracks recordings, for your own private use.
You may also record your own music using NAFTracks backing tracks for a commercial CD release by paying modest licensing fees. These fees are paid by us back to the songwriters of the various tracks.
Do you have any suggestions on how to improvise?
There are some basic techniques and approaches, but most of all, know that you will find your own approach and style of improvising. I might suggest some techniques, almost as if someone might approach a meditation:
On tracks that have chord changes, how do you correctly follow with a melody?
Many tracks stay within the same chord structure, so you can play any notes on the Native Flute scale.
For songs that do have chord changes, I've tried to keep chord changes in a predictible 1-4-5 setup like the standard 12-bar blues. If you're not familiar with the 12-bar blues structure, here's a quick synopsis:
The 12 bars is broken into one chord for each bar.
The "one" chord works best with these notes: , , and .
The four with: , , and
The five: and
Here's the cycle structure of bars - I've put the chord changes in BOLD CAPS:
| ONE | one | one | one | FOUR | four | ONE | one | FIVE | FOUR | ONE | one | (and repeat)
You will find this structure in a lot of music, and tends to be a very common approach to melody creation (i.e. "hanging out on the one" then "hanging out on the four").
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