Wednesday 15 August 2018

New Video Out Now: My Top 7 Guitarists

My latest #YouTubevideo is out now. My top 7 #guitarists plus honourable mentions: A musical journey from #classical, #flamenco, to #jazz and #rock.


Click Here To watch: https://youtu.be/GwTHaObpBTE

Thursday 23 November 2017

www.daleharris.net For Guitar-Based Music Downloads In MP3/Flac

Announcing the place where you can easily download guitar-based mp3 music by Dale Harris:

www.daleharris.net

Where you can find solo classical guitar arrangements and transcriptions, multi-tracked jazz-fusion recordings and some more experimental music.

Thursday 27 December 2012

dale-harris.com NEW OFFICIAL WEBSITE!

I have acquired a new web-address for the DALE HARRIS internet homepage. For news, images, music, video, biographical information, up-to-date touring and concert dates please visit:


Wednesday 16 March 2011

Godin: Grand Concert 'Ambiance' Guitar

Dale Harris plays the new Godin Grand Concert 'Ambiance' guitar!

I am very pleased to announce that I have just aquired Godin's fantastic Grand Concert 'Ambiance' guitar. I will be playing this superb instrument in my concerts this year and onwards. I love the plugged-in tone of the Godin Ambiance and the variety of blended sounds that it provides thanks to the dual blended pick-up system. I am also very relieved that this guitar yet again removes yet more of the barriers in the amplification of the Spanish guitar. It is high-time that the problem of projecting classical guitars to larger audiences is solved. Thus, I believe that Godin's Grand Concert guitars goes much of the way into negating the majority of issues. The added bonus is that you get excellent playability from the ebony fretboard and all at a great price (roughly a third or more of a handmade concert classical).

If you are in the UK, I will be playing the Godin guitars at the Guitar Fest (South Hill Park, Bracknell) on Saturday 30th April (also the amazing Antonio Forcione will be performing there).


 You can find out more about Godin Guitars at their website, www.godinguitars.com.


Dale Harris

UPDATE 22/April/2011: Here are the results of my soundtest with the GODIN GRAND CONCERT AMBIANCE, free listen (click on the link and the music opens and automatically plays)

Wednesday 12 January 2011

REVERIE ON A HILL - Dale Harris, Guitar

CD Title: Reverie On a Hill
Artist: Dale Harris, guitar
Genre: Classical (Solo/Instrumental)
Catalogue number: CMZ003
Record Label: Cryptogram Records Ltd.
© Copyright-Cryptogram Records Ltd.
Barcode: 5060118670132

Reverie On A Hill by Classical-Spanish & acoustic guitarist Dale Harris that especially features world premiere transcriptions of Schumann's Kinderszenen op.15, Wagner's Tristan And Isolde and works by Bach, Giuliani, Handel, Harris and Vivaldi. Performed on a guitar made by Stephen Hill.

Track Listings:

1. Sonata in E Major, K.380, L.23 4:39
2. Kinderszenen, Op.15: I. Strange Lands and Folk 1:46
3. Kinderszenen, Op.15: Ii. Intriguing Story 1:12

4. Kinderszenen, Op.15: Iii. Playing Tag 0:46
5. Kinderszenen, Op.15: Iv. Pleading Child 0:50
6. Kinderszenen, Op.15: V. Abundant Good Fortune 2:20
7. Kinderszenen, Op.15: Vi. a Momentous Incident 1:07
8. Kinderszenen, Op.15: Vii. Dreaming - Reverie 3:03
9. Kinderszenen, Op.15: Viii. Around the Fireplace 1:08

10. Kinderszenen, Op.15: Ix. the Young Knight Rides the Toy Horse 0:55
11. Kinderszenen, Op.15: X. Quite Serious 1:45
12. Kinderszenen, Op.15: Xi. the Scary Man 2:36
13. Kinderszenen, Op.15: Xii. Child At Bedtime 2:02
14. Kinderszenen, Op.15: Xiii. the Young Poet Speaks 2:39
15. Variations On a Theme By Handel, Op.107 9:56
16. Suite 11 for Keyboard in D Minor: Sarabande 7:28
17. Concerto for Two Mandolins in G Major, Rv.532: Andante 3:23
18. Piano Sonata in C Major, K.330: Ii. Andante Cantabile 8:14
19. Tristan Und Isolde: Act 1 - Prelude 10:18
20. Tristan Und Isolde: Act 3 - Prelude 3:45
21. Cryptogram 1:13
22. The Well-tempered Clavier, Bwv.846: Book 1. Prelude in C Major 2:39

Amazon.co.uk: Buy Reverie On A Hill - Dale Harris, guitar £8.99


Further details On Musician: Dale Harris
www.dale-harris.co.uk
www.classicalguitarteacher.co.uk
www.guitarwedding.co.uk



DARK TALES (CD) - DALE HARRIS / JEZ HENDERSON

CD Title: Dark Tales
Artist: Dale Harris / Jez Henderson / Robert Hermans / Caroline Nemorin
Genre: Jazz Fusion / Instrumental / Classical
Catalogue number: CMZ002
Record Label: Cryptogram Records Ltd.
© Copyright-Cryptogram Records Ltd.
Barcode: 5060118671313

Dark Tales is an exciting and unique project that combines elements of quasi-impressionist classical, Latin-jazz infused with Nuevo-Spanish undertones, and experimental improvisations. The line-up consists of two English musicians: guitarist Dale Harris (better known as a concert Classical/Spanish guitarist) and Jez Henderson (drums/percussion) plus some special guests. All of the tracks introduce original compositions by Harris, Henderson and Hermans. The result is a musically satisfying and open-minded outing. Harris sounds rejuvenated and refreshed in this format, as he switches between Classical, Steel-string acoustic and an electric guitar that he often plays in combination with a midi-triggered guitar synthesizer. The result produces some luminous timbres and textures that eases the usual hard attack of the electric guitar. This is a fascinating original collection of music by some of the finest creative contemporary musicians in the field today.

Track Listings:


1. Brother And Sister 5:34

2. Fantasia For Ayrton Senna 7:05

3. Dark Tales (part I) 4:24
4. Dark Tales (part II AKA Headache From Hell) 1:29
5. Dark Tales (parts III-IV-V) 7:33

6. Balaclava Road 3:01

7. Out Back (part I) 5:30
8. Out Back (part II) 3:56
9. Cruise Control 7:59

10. I Found A Shell 2:11


Buy Dark Tales - Dale Harris & Jez Henderson £8.99


Further details On Musician: Dale Harris
www.dale-harris.co.uk
www.classicalguitarteacher.co.uk
www.guitarwedding.co.uk



ESPIRITU DE LA GUITARRA (CD) - DALE HARRIS CLASSICAL GUITAR

CD Title: Espiritu De La Guitarra
Artist:
Dale Harris, guitar
Genre:
Classical (Solo/Instrumental)
Catalogue number: CMZ001
Record Label: Cryptogram Records Ltd.
© Copyright-Cryptogram Records Ltd.
Barcode: 5060118672310

The first solo guitar release by Dale Harris: "Espiritu de la Guitarra" (release date 18-Apr-06), featuring inventive and sensitive new interpretations of classic guitar music from Spain and Paraguay. Works by Barrios, Sor, Albeniz, de Murcia & Tarrega.

Track Listings:

1. Waltz Op.8, No. 4 (Barrios) 5:22
2. Una Limosna Por El Amor De Dios (Barrios) 3:33
3. Choro De Saudade (Barrios) 6:33
4. La Romanesca (Sor) 1:59
5. Minuet Op.22 (Sor) 4:01
6. Minuet Op.25 (Sor) 3:07
7. La Folia De Espana Op15, No.1 (Sor) 4:28
8. Asturias (Albeniz) 7:57
9. Prelude (de Murcia) 2:18
10. Allegro (de Murcia) 1:01
11. Recuerdos De La Alhambra (Tarrega) 4:06
12. Adelita Mazurca (Tarrega) 2:00
13. Lagrima Preludio (Tarrega) 2:36


Amazon: Buy Espiritu De La Guitarra - Dale Harris, guitar £4.99

Further details On Musician: Dale Harris
www.dale-harris.co.uk
www.classicalguitarteacher.co.uk
www.guitarwedding.co.uk

Friday 7 January 2011

Direct Links To Classical Spanish Acoustic Guitarist Dale Harris

Find out more about Dale Harris below!

Dale Harris Mailing List

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Dale Harris Profile

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Facebook Profile

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Dale Harris MP3 Music (free listen)

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Dale Harris Concerts Dates, Interviews, Live Shows

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Dale Harris Street Team, Fan List, Keep Up To Date With The Mailing List For Latest News

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Free Classical, Spanish Acoustic Guitar Music From Dale Harris

Free Classical, Spanish Acoustic Guitar Music From Dale Harris

Free Links to Music MP3's Here; join the fan list for exclusive access to more guitar music by Dale Harris!

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DH Jan 2011

Saturday 11 December 2010

Dale Harris: Guitar Music On Video - Watch Here For Free!

I have been frequently asked to provide a link to a compilation of my guitar videos. So here's a link to a playlist that is by no means comprehensive but will give you a guide to my music. The majority of videos are from live performances.

DALE HARRIS ACOUSTIC GUITAR MUSIC VIDEOS (click here)

Dale Harris, December 11 2010

Friday 3 December 2010

You've Got To Be More Than A Genius! (or 'Be Different')

This is a thought regarding something that happened at a gig last night. In preparation for a forthcoming solo 'variety-guitar' concert (where I play many different guitars in contrasting genres), I took out a guitar that seldom sees the light of day (as I prefer playing classical guitars). I decided to play three guitar pieces and one requires hundreds of tuning peg pitch changes. This achieves an effect similar to the pedal-steel or Hawaiian guitar. I got the feeling that most people hadn't seen this (trick) before. The guitarists in the audience were busy figuring out what was going on whilst the lay-men were just staring. Some people laughed, and the die-hard inbred types, well, god knows what they thought (they probably wanted more Elvis Presley or something old and well-known).

The 'trick', like most magic, isn't new. A well-known guitarist whom I saw play many times used to tour round the UK in the 1980's doing the same trick, and he used to get much a very similar reaction. His time in the U.K. was much less-successful than his later reception in the U.S.A.

These days, as I practice mostly classical and reserve the other styles for just airing at concerts so I don't take playing non-classical music that seriously. It's a bit of fun and hopefully injects some much needed variety. Now, I still see and read about many very clever solo musicians (especially guitarists) and they seem to fall into the same trap. Do one thing, stick to that one style and hope for the best. That approach might just work if you are in Nashville although the competition is stiff but it generally does not work. Take classical guitar concerts; very clever, great music, complex, beautiful and artistic but it does not attract the masses (half-masses would do!). I always wanted to be a classical guitar performer and the recitals I've done have reinforced my present view that too much of one thing (for entertainment, not intellectual purposes) is a bad idea. I wasn't under illusions in my experience taking just the one unusual guitar to perform with in a short three-song show and performing my allotted pieces in that style and sound. For me, it was practicing an aspect for my solo show. Certainly being an instrumentalist in London and performing in one style only just isn't enough.

Funnily enough, Ive taken that annoying blue guitar to many of my serious classical recitals.

DH





What counts is not shock-value or cleverness,

Friday 26 March 2010

Logical Baroque Lute Tablature Idea: Weiss Fantasie

As a professional musician, I just do not have the time anymore to learn a new music reading system. Reading traditional music and also guitar tablature is quite enough! If you play the lute, you are 'expected' to become acquainted with lute-specific tablature, which might as well be written in alien symbols as far as I'm concerned. Therefore, I've devised a system for my 13-course lute where all the information I need can be written within the standard guitar-based six-string tablature score. Strings 1-6 are written as normal guitar type tab:

1-6: E, B, G or F#, D, A, E.


Courses 7-13 are indicated thus: * (and placed on the 6th string tab) and the
open COURSE and corresponding pitch is written immediately below.

For example:



E|--*----

D(7)


The above indicates that the 7th CR(which is my open 'D' string in my tuning) is to be played as an open string
.

Here's the first few bars of one of my scores which is the famous Fantasie by Weiss for lute. Let me know what you think. I know I don't use authentic tuning for my 13-CR before traditionalists get upset! My aim here is to access baroque lute repertoire using the skills I already have as a 'six-stringed instrumentalist'; there is another word for this starting with a 'g' but some do not like this, especially if uttered in the same vicinity as the word 'lute'. I therefore intend to place the baroque lute in a new and original context and to derive a way of presenting a score that is both accurate and concise.



Fantasie by Sylivus Leopold Weiss (1686-1750)


Reacquainted interpretation back to 13-cr Baroque Lute
(Swan neck German Theorbo-lute: Widhalm) by Dale Harris.

Copyright c.2010 Dale Harris (All rights reserved).



This arrangement tuning is: 1E 2B 3G 4D 5A 6E 7D 8C 9B 10A 11G 12F 13E



E|------------1---5---6---|------------0---3-0-5-0-|------------1---5-3-5---|
B|--------3-----3---3---3-|--------2-----2---------|--------3-----3-------3-|
G|----2-----2-------------|----3-----3-------------|----2-----2-------------|
D|--3---3-----------------|--2---2-----------------|--3---3-----------------|
A|------------------------|------------------------|------------------------|
E|*-----------------------|0-----------------------|1-----------------------|
..D(7)



E|------------------------|--1---0-----------6-----|--0---------1-------1-0-|
B|------------------------|----------3---3-----3-6-|------1---1-------------|
G|--3-2-3---5-3-5---2-0-2-|----2---3---2---0-------|----0---------2---0-----|
D|------------------------|3-----------------------|------------------------|
A|------------------------|------------------------|3-------0-------2-------|
E|3-------0-------1-------|------------------------|------------------------|




E|--0-------0---0---------|------------------------|----0-------------5-3-5-|
B|------------------3---3-|--3-0-----1-------0-----|------3---2-3-5---------|
G|----2-0---------4---2---|------1-----2-------2---|--1-------------2-------|
D|------------3-----------|--------------3-------3-|------------------------|
A|4-----------------------|------------------------|--------0---------------|
E|--------*---------------|0-------1-------*-------|0-----------------------|
..........D(7).............................D(7)




Dale Harris, March 2010

Sunday 13 December 2009

Jazz Improvisation Modal Substitutions

To continue with the ideas as set-out in one of my previous blogs regarding John Coltrane's 'Giant Steps' involving what I call 'transfiguration' (a process of substituting sequences of V-I or ii-V-I tonal areas with relative linear tonal areas) I am here turning my attention to a 'fluid' linear modal system. Linear harmonic chord voicing is a major part of classical composition (e.g. writing in the style of a four-part J.S. Bach Choral is standard practice) where leaps in each voice (bass, tenor, alto, soprano) are kept to a minimum and cadences observe particular rules (e.g. in a V7 chord, the 7th resolves downwards by one semi-tone step to the major 3rd of chord I). My 'fluid' linear modal system allows the soloist to almost instantly analyse a chord progression, understand the 'tonal' area and apply a scale-mode that corresponds with adjacent tonal areas and apply a suitable mode in a key according to linear principles.

An understanding of diatonic and modal scales, linear voice-leading melodic compositional techniques, jazz chords and harmony, and improvisation is required for full comprehension of this blog-post.

The music example I will use here is the jazz-standard 'Just Friends' in the key of C major. It is necessary to understand the tonal areas before applying any further analysis:

4/4 G7 || C maj7 | C6 | Cm7 | F7 | Gmaj7 | G6 | Bbm7 | Eb7 | Am7 |

(first time) D7 | Bm7 | Em7 | A7 | A7 | Am7 D7 | Dm7 G7 :|

(second time) D7 | F#m7 | B7 | Em7 | A7 | Am7 D7 | Gmaj7 ||

Select a tonal centre to 'think in'. That will probably be C major to start with. The piece opens with (G7 - C maj7 - C6) or V - I in C major. Improvise C Ionian major scale here. Then Cm7- F7 follows or ii7-V7 of Bb major. Here you have a linear choice, either improvise in Bb major Ionian or, preferably, you can play the second mode of Bb major, which is C Dorian. In other words, you can improvise a phrase in the previous tonal area, and simply transfigure the notes of the motive to fit the new 'minor' sounding Dorian mode.

E.g. C,D,E,F,G,A,B,C (C major) becomes transfigured: C, D,Eb, F,G,A,Bb,C (C Dorian)

The sequence Gmaj7 -G6 is a case in point for unnecessary switching of thinking. Even though you can use the G major Ionian scale over G maj7, think linear and use the 4th Lydian mode of G major which is C Lydian. Again, the previous tonal-area was C Dorian and your phrase/s may be transfigured to C Lydian. Thus, you may continue easily reworking your phrases without jumping from key to key.

E.g. C, D,Eb, F,G,A,Bb,C (C Dorian) becomes transfigured: C, D,E, F#,G,A,B,C (C Lydian)


With the above you can of course apply this theory to commence your tonal centre in a completely different place. I'll show the transfiguration to a tonal centre to G. You simply count through the mode order

1. Ionian, 2. Dorian, 3. Phrygian, 4. Lydian, 5. Mixolydian, 6. Aeolian, 7. Locrian:

E.g.
C,D,E,F,G,A,B,C (C major) / C, D,Eb, F,G,A,Bb,C (C Dorian) / C, D,E, F#,G,A,B,C (C Lydian)

can be transfigured to:

G Mixolydian (C major but G-G) / G Aeolian (Bb major but G-G) / G Ionian (G major). This system is completely fluid but as long as you understand your modes! If you analyse and discover a Eb major tonal area for instance, then Chord ii of Eb is always F minor and the corresponding second degree mode is Dorian giving you F Dorian. Subsequent keys can be transfigured on the spot to find a suitable mode in the key of F or its adjacent tonal-area neighbour E or F#.

I believe that this system, whilst perhaps might be too much of an undertaking for an amateur, it is during medium-fast and faster jazz music where thinking and jumping becomes hard, and at times impossible to implement standard scale-key thing instantly. Try testing your knowledge here by trying the other way that amateurs often prefer to use.

Take the first four notes of B major and write them out. Now imagine you are about to play a phrase in imitation and you want to make the first note of each canon (imitation) climb upwards one step at a time. When you stay in the one key this is easy:

E.g.
phrase 1 B, C#, D#, E
phrase 2 C#, D#, E, F#
phrase 3 D#, E, F#, G#
phrase 4 E, F#, G#, A#

Now (and this is what I think is too complicated to implement at speed), imagine that the tonal centres are changing at around 260pm or higher in 4/4 time. Compose a imitative upwards moving phrase sequence in the following keys:

phrase 1 [B Major] B, C#, D#, E
phrase 2 [Ab Major] , , ,
phrase 3 [D Major] , , ,
phrase 4 [F Major] , , ,

How did you do? Now try to compose and transfigure your own motives using this fluid linear modal system and see how you get on. Message me with your results perhaps?

Dale Harris copyright c.2009 All rights reserved

Thursday 10 December 2009

Jazz-Improvised Practice Routine

Here's a jazz or improvised music practice routine. Recall or learn a C major scale, then C modal minor [Aeolian or Dorian], then B modal minor [again Aeolian or Dorian] . I number these scales 1, 2, and 3 respectively.

Now play a scale consisting of any 4 consecutive notes in C major:

e.g. (C, D, E, F)

Then play the 4 corresponding notes in C minor:

e.g. (C, D, Eb, F)

Then the same again in B minor:

e.g. (B, C#, D, E)

Try to think in the different tonal areas whilst you are doing it; e.g. play C major and state to yourself 'C major'. This can be done out loud or internally. Saying it out loud should help force it into your subconscious more efficiently.

Memorize sequences such as -- 1, 3, 2, 3, 2, 1, 2, 3, 1, 2 -- I call this 'transfiguration'. Break these number patterns down into smaller groups for memorization purposes if that helps and impose the scale phrase over the top, repeating the entire sequence.

Now try to play the next 4 notes in C major: (d, e, f, g) and 'transfigure' into the other key areas.


Dale Harris, December 2009

Copyright c.2009 Dale Harris All Rights Reserved.

Wednesday 9 December 2009

John Coltrane Giant Steps Analysis

John Coltrane's Giant Steps has intrigued me for many years. The greatest musical challenge to improvising over the chord progressions is to think fast enough in the following tonal areas labeled 1 2 and 3 respectively:

1 = B major (and home key) 2 = E flat major 3 = G major.

The relationship between these tonal areas is that they are each a major third apart (once any enharmonics have been adjusted). Thus, normal diatonic analysis becomes problematic as the chords alternate via the three tonal areas and are thus unprepared and simply 'jump' via ii-V-I or V-I progressions. That is, B major cannot modulate to G major without first being prepared via a number of mutually acceptable keys. Such an analysis impacts upon the improviser. So a new way of seeing the chord relationships comes into effect.

Here is an outline of the chord structure:

I B major
V7 - I / G major
V7 - I / E flat major
ii - V - I / G major
V7 - I / E flat major
V - I B major)
ii - V - I / E flat major
ii - V - I / G major
ii - V - I B major
ii - V - I / E flat major
ii - V B major [-resolves back to bar 1 and chord I in B major]

Thinking in pure terms then, each chord I is a major seventh and therefore one might improvise over the tonal area using the corresponding Ionian or Lydian mode:

i.e. ii - V -I in B Maj7 = B Ionian or B Lydian

Then same can be done for the other two tonal areas E flat major and G major. However, the problem remains that phrases in the manner of a canon (a short repeating motif) are problematic to switch thinking between the key areas.

E.g. B major Ionian possesses 5 sharps
E flat major Ionian possesses 3 flats
G major Ionian possesses 1 sharp

It is far better then to theoretically 'substitute' the tonal areas for closer related and hopefully, easier to implement modal scales. Thus I have derived the following table for the three aforementioned tonal areas (as numbered 1, 2 and 3, see above). Here is the basic structure in terms of tonal areas only:

Here is an outline of the chord structure:

I 1
V7 - I / 3
V7 - I / 2
ii - V - I / 3
V7 - I / 2
V - I 1
ii - V - I / 2
ii - V - I / 3
ii - V - I 1
ii - V - I / 2
ii - V 1

So, when improvising, you can group this pattern for memory purposes to help indicate the scales and tonal areas to use:

1 3 2 3 2 1 2 3 1 2 (and repeat for solos)

Because of the symmetrical nature of major keys each being a major third apart, the mathematics produce some interesting substitutions to explore. By substitution, I intend to suggest 'thinking' and exploring the related modal key area for the duration of the ii - V - I.

1 as 'B'

1 = B major, 2 = C minor, 3 = C major

Here, you can now easily transpose any motifs by a semi-tone or by altering a given phrase from major to minor or vice versa. By thinking that 1 is B major, select the appropriate mode:

1 = B, e.g. B Ionian, B Lydian, B major pentatonic
2 = C minor, e.g. C aeolian, C minor pentatonic
3 = C major, e.g. C Ionian


1 as 'E flat minor'

1 = 'E flat minor, 2 = E flat major, 3 = E minor
1 as 'E flat minor'

Here, you can again easily transpose any motifs as above. By thinking that 1 is E flay minor, select the appropriate mode:

1 = E flat minor, e.g. E flat aeolian
2 = E flat major, e.g. E flat Ionian
3 = E minor, e.g. E aeolian

1 as 'G flat major'

The same applies here

1 = G flat major, 2 = G major, 3 = G minor

Again, transpose motifs according to the following modal examples:

1 = G flat major, e.g. G flat Ionian
2 = G major, e.g. G Ionian
3 = G minor, e.g. G aeolian

Hopefully, and as long as you are familiar with your basic major and minor scales and modes, you can transpose melodic phrases by close proximity rather than huge harmonic leaps. Which is to say, you are not stuck in any one key, and can imply a variety of new key areas whilst staying within palatable harmonic parameters!

Dale Harris
Copyright c.2009 Dale Harris. All rights reserved