GrooveZONE CD #3:
March 2004
Track 1:
Simple Country Blues 12-bar - straight-eighths - with guitar soloing on major pentatonics:
D G D | / / / / | / / / / | / / / / | / / / / | G D | / / / / | / / / / | / / / / | / / / / | Em7 A7 D G D A7 | / / / / | / / / / | / / / / | / / / / :||
Track 2:
Simple Country Blues 12-bar - straight-eighths, with the most basic of chords:
D G D | / / / / | / / / / | / / / / | / / / / | G D | / / / / | / / / / | / / / / | / / / / | A7 A7 D G D | / / / / | / / / / | / / / / | / / / / :||
Track 3:
Simple Country Blues 12-bar - swing-eighths, with fingerpicking and strumming dulcimer parts:
D G D | / / / / | / / / / | / / / / | / / / / | G D | / / / / | / / / / | / / / / | / / / / | Em7 A7 D G D A7 | / / / / | / / / / | / / / / | / / / / :||
Track 4:
Jazzy Blues 12-bar - swing-eighths - a more embellished progression common in jazz settings:
D G D Am7 D7 | / / / / | / / / / | / / / / | / / / / | G G#dim D/A B7 | / / / / | / / / / | / / / / | / / / / | Em7 A7 D G D A7 | / / / / | / / / / | / / / / | / / / / :||
Track 5:
Rockin' Straight-Eighths 12-bar - a standard progression with great drive, common in rock settings:
D D6 D D6 G G6 G G6 D D6 D D6 D7 | / / / / | / / / / | / / / / | / / / / | G G6 G G6 G G6 G G6 D D6 D D6 D D6 D D6 | / / / / | / / / / | / / / / | / / / / | A A6 A7 A6 G G6 G G6 D D6 D D6 A7 | / / / / | / / / / | / / / / | / / / / :||
mp3 (2.1 MB - 2:21)
Track 6:
Simple Country Blues 12-bar - straight-eighths -dulcimer backup track only. See track 1 for rhythm chart.
Track 7:
3/4 or 6/8 jazz-waltz 12-bar - a slow, gentle swing feel - great for expressive soloing:
A D A7 D A D A7 D A D A7 D A D A7 D | / / / / / / | / / / / / / | / / / / / / | / / / / / / | D G D7 G D G D7 G A D A7 D A D A7 D | / / / / / / | / / / / / / | / / / / / / | / / / / / / | E A E7 A D G D7 G A D A7 D E7 | / / / / / / | / / / / / / | / / / / / / | / / / / / / :||
Track 8:
"Trouble In Mind" 8-bar - swing-eighths:
A E7 A A7 D7 | / / / / | / / / / | / / / / | / / / / | A E7 A D7 A E7 | / / / / | / / / / | / / / / | / / / / :||
mp3 (3.1 MB - 3:29)
Track 9:
Slow shuffle 12-bar - swing-eighths - dominant 7th chords on I, IV, and V. Dulcimer tuning D-A-C-D gives this distinctive sound:
D D7 G G7 D D7 D D7 | / / / / | / / / / | / / / / | / / / / | G G7 G G7 D D7 D D7 | / / / / | / / / / | / / / / | / / / / | A A7 G G7 D7 G7 D7 A7 | / / / / | / / / / | / / / / | / / / / :||
mp3 (2.7 MB - 3:01)
Track 10:
Pure Dorian 12-bar - Here is a tweak on the normal 12-bar pattern, with the more modal bIII (G) - bVII (D) substituting for the typical V - IV in bars 9 and 10. This track has a lazy rasta feel, with a funky guitar "bass" part, and two rhythm dulcimers ---> one doing the typical chops on 2 and 4, and the other sliding into the chords on the anticipations of beat 1:
Em7 A7 Em7 | / / / / | / / / / | / / / / | / / / / | A7 Em7 | / / / / | / / / / | / / / / | / / / / | G D Em7 G D | / / / / | / / / / | / / / / | / / / / :||
mp3 (1.8 MB - 2:01)
Tracks 11 and 12:
Pure Dorian 12-bar - These tracks are simply jazz guitar versions of track 10. Track 11 is just the guitar chords, and track 12 adds a jazzy solo over them.
Track 13:
This is a basic 12-bar in A with straight-eighths, using the dominant 7th sound on all chords like track 9.
Track 14:
I - I - IV - V progression in straight-eighths - there are three tracks of dulcimer on this cut: a simple strummed rhythm, a muted bass part, and a syncopated, polyrhythmic fingerpicked part:
D D G A7 | / / / / | / / / / | / / / / | / / / / :||
mp3 (2.9 MB - 3:14)
Track 15:
I - I - IV - V progression in swing-eighths - better-known as a true polyrhythmic 12/8. This is a good example of (solo) polyrhythmic fingerpicking on the dulcimer. You can hear when it is very relaxed and in the groove, and you can also hear when it becomes tighter and stiffer - and almost collapses.
I got the idea for this progression while listening to the groundbreaking CD of Ry Cooder and Ali Farka Toure entitled "Talking Timbuktu" - I highly recommend this if you are drawn to the African influences and cross-rhythms.