Having had a multitude of injuries partially (if not wholly) triggered by playing a musical instrument, I would like to record my experiences and range of problems. I do this in the hope of giving others who may be suffering in similar circumstances, especially those for whom it may be their first time. Obviously I'm not a doctor. Correction! My hard-earned PhD states that I am, but I'm a doctor of Musicology so I can't give medical advice.
Upon basic minor strains and small pains it's best just to stop what you are doing, shake-off your hands and arms then take a break. Those aches that persist beyond a minute or so I would stop for a day or two and assess the situation from there. Examine your posture, including sitting position. Ask yourself if you are straining in any way. A typical instance might be that you cannot be bothered to get your music stand out or set it at the wrong height (and thus stress your upper body). Your chair may be the wrong height? You have your foot rest too high or low. You are gripping the neck too hard? You are plucking too loud for too long? You are not warming up properly?
If a pain lasts more than a day then it's time to really start to pin-point what is causing it. Ask your doctor, consult a physiotherapist or see your osteopath. Have your posture looked at, especially your spine as this is key to your entire body-frame. Also get a guitar teacher to have a look at your posture. Record your self from different angles with a camcorder. Practice opposite a mirror. If you constantly look at your left hand then a mirror can ease some of the strain. Learning to play without looking at your fretboard.
Pains that are almost continuous are the biggest danger. Watch for nerve pains that 'shoot' up the arm or wrist. The chances are at this point that your guitar playing is just one factor. Other issues may be that you are sitting at your PC in the wrong position, or using the mouse too much. Driving can cause problems with heavy steering, poor seats, long journeys without a good break. Don't try to play normally until not just the pain has gone, but you have built up to getting back to normal. Cut your practice time down dramatically, and build it up 5-10% per week. If you still experience pain, knock your practice back down again.
I will add to this blog, but for now, I need to take a break!
DH
Subscribe To
Posts
All Comments
Monday, 26 October 2009
Thursday, 15 October 2009
Alan Banks: 'Mnemonics' CD
Note to Alan Banks,
You should be really proud of this CD! It is one of the best I've heard in years! Your performance of Bach's Chaccone is simply stunning. In my view, your version rivals that of the great maestros; dare I say better? You have so much musicality and expression, it puts many of the 'others' to shame. And yet, you have so much technique and control at your disposal. You have a really compelling slant on Domeniconi's Koyunbaba (a personal favourite of mine). I doubt many guitarists would like to take on Lyons Mnemonics either!
More power to you! All music lovers, not to mention fellow classical guitarists should listen to this fantastic CD. Listen and learn!
Dale Harris
You should be really proud of this CD! It is one of the best I've heard in years! Your performance of Bach's Chaccone is simply stunning. In my view, your version rivals that of the great maestros; dare I say better? You have so much musicality and expression, it puts many of the 'others' to shame. And yet, you have so much technique and control at your disposal. You have a really compelling slant on Domeniconi's Koyunbaba (a personal favourite of mine). I doubt many guitarists would like to take on Lyons Mnemonics either!
More power to you! All music lovers, not to mention fellow classical guitarists should listen to this fantastic CD. Listen and learn!
Dale Harris
Wednesday, 16 September 2009
Songs of Love and Revenge
You can hear Dale Harris' early guitar performances on these tracks:
1. big blue world
2. girl in a gilded cage
10. the drowning pool
11. revolution of the mind
(track numbers from 'Songs of Love and Revenge')
If you would like to own these tracks and prefer to own the original Pretty Blue Gun CD 'Big Blue World' which has long-since been deleted, you can obtain them from me. I have CD's of the original for sale, all used and details can be found elsewhere in this blog.
Some of the original members have threatened legal action over me displaying their CD's. I should point out that my CD's are legitimate original pressings exactly as other shops and internet outlets selling their music. The British Phonographic Licensing agency PPL told me in 2008 that they are happy to obtain performance royalties still owing ONCE the tracks have amassed more than fifty UK pounds sterling in royalties!!!!
Pretty Blue Gun only made it as far as the bargain bins in the old Our Price shops. I bought some of my copies in Canterbury, Kent in about 1995.
DH
1. big blue world
2. girl in a gilded cage
10. the drowning pool
11. revolution of the mind
(track numbers from 'Songs of Love and Revenge')
If you would like to own these tracks and prefer to own the original Pretty Blue Gun CD 'Big Blue World' which has long-since been deleted, you can obtain them from me. I have CD's of the original for sale, all used and details can be found elsewhere in this blog.
Some of the original members have threatened legal action over me displaying their CD's. I should point out that my CD's are legitimate original pressings exactly as other shops and internet outlets selling their music. The British Phonographic Licensing agency PPL told me in 2008 that they are happy to obtain performance royalties still owing ONCE the tracks have amassed more than fifty UK pounds sterling in royalties!!!!
Pretty Blue Gun only made it as far as the bargain bins in the old Our Price shops. I bought some of my copies in Canterbury, Kent in about 1995.
DH
Tuesday, 15 September 2009
Berg's Lyric Suite Number Cryptogram
The story that the composer tells in the Lyric Suite annotated score features Alban Berg, Hanna Fuchs and her two children: ‘Munzo’ and ‘Do-do’. It is, moreover, important to note that the secret programme solely refers to Alban Berg, Hanna Fuchs, Munzo’ and ‘Do-do’ in the annotations. It is possible to find the numerological ‘expression’ numbers of these names working from the exact mixture of whole names and first names that Berg uses in his annotations to the score:
Figure 5-24. Name - Conversion - Reduction
A L B A N
(1+3+2+1+5 = 12)
12 = (1+2) = 3
B E R G
(2+5+9+7 = 23)
23 = (2+3) = 5
H A N N A
(8+1+5+5+1 = 20)
20 = (2+0) = 2
F U C H S
(6+3+3+8+1 = 21)
21 = (2+1) = 3
M U N Z O (4+3+5+8+6 = 26)
26 = (2+6) = 8
D O – D O (4+6+4+6 = 20)
20 = (2+0) = 2
ALBAN BERG (3+5) = 8
HANNA FUCHS (2+3) = 5
MUNZO = 8
DODO = 2
(8 + 5 + 8 + 2)
These numbers produce 23 after reduction (8+5+8+2 = 23). There is a particular significance of the mixture of whole and first names: that is, Berg refers only to ‘Hanna Fuchs’ not Hanna Fuchs-Robettin, ‘Dodo’ not Dorothea, and ‘Munzo’ not Franz. Hanna’s husband Herbert Fuchs-Robettin is not represented in the work nor does Helene Berg seem to have been included.
Dale Harris
Copyright Dale Harris c. 2009 All Right Reserved
Figure 5-24. Name - Conversion - Reduction
A L B A N
(1+3+2+1+5 = 12)
12 = (1+2) = 3
B E R G
(2+5+9+7 = 23)
23 = (2+3) = 5
H A N N A
(8+1+5+5+1 = 20)
20 = (2+0) = 2
F U C H S
(6+3+3+8+1 = 21)
21 = (2+1) = 3
M U N Z O (4+3+5+8+6 = 26)
26 = (2+6) = 8
D O – D O (4+6+4+6 = 20)
20 = (2+0) = 2
ALBAN BERG (3+5) = 8
HANNA FUCHS (2+3) = 5
MUNZO = 8
DODO = 2
(8 + 5 + 8 + 2)
Dale Harris
Copyright Dale Harris c. 2009 All Right Reserved
Alban Berg's 23 Structure (Opus 1-2)
Adorno’s term ‘number games’ for Berg's codes, applicable to virtually all Berg’s works, can be most readily observed in structural determinants, such as bar numbers (whether in sections of movements, whole movements and/or the whole work) and metronome markings, etc. My studies have set out the structures of Berg’s early works (but not including his earliest student works, including approximately 70 songs, that were not given Opus numbers and sketches), to observe the most frequently occurring structural determinants and, where applicable, to see if there is any evidence to suggest that Berg already had a preference for certain numbers. The examples below cover Berg's Opus 1 and 2 works.
Berg was first given private tuition by Schoenberg in 1904 (ending in 1910) and his serious compositions under Schoenberg’s tutorage include his Piano Sonata Opus 1 and Four Songs Opus 2. In the first of these, it can be seen that Berg uses 5 and 23 as structural determinants:
Figure 2-1. Basic Form of Berg’s Piano Sonata, Op.1 (1907-8)
1-55 exposition 55 bars (x 2)
56-110 development 55 bars
111-179 recapitulation 69 bars
The 55 bar exposition (5 x 11) is repeated and at 110 bars, is exactly twice the length of the 55 bar development section.[1] As will be seen later in this thesis, Berg very often uses multiples of 5 and 10 as structural determinants. The recapitulation section is 69 bars in length (3 x 23). Berg would often write the number 69 in his later manuscripts as ‘23 x 3 takte’ although he has not done so here. There are no metronome markings in the score.
Two early songs ‘Im Zimmer’ (crotchet = 82) and ‘Liebesode’ (crotchet = 63) in Wiener Stadtbibliothek manuscripts have had their metronome markings subsequently altered (to multiples of 23: crotchet = 69 and crotchet = 46 respectively) for publication in Berg’s ‘Seven Early Songs’.[2]
The structure of Berg’s next published work - Vier Leider für eine Singstimme mit Klavier 1908-10 (Four Songs Opus 2) – features another multiple of 23 in the total number of bars in the work:
Figure 2-2. Basic Form of Berg’s Songs Op. 2, numbers 1-4 (1908-10)
I 1-30 (30 bars)
II 1-30 (30 bars)
III 1-30 (30 bars)
IV 1-25 (30 bars)
TOTAL = 115 bars
The first three songs are 30 bars each in length and the fourth movement is 25 bars: (30+30+30+25). Thus, the total number of bars is 115 bars - (115 = 23 x 5).[3] Moreover, multiples of 5 and 10 are also very clearly present in the structures of each of the songs (i.e. 30 = 10 x 3, 5 x 6 ; 25 = 5 x 5).
The architect Hermann Watznauer, who was Berg’s mentor, claimed that Op. 2 was inspired by Berg’s experiences of his first love affair (with his servant Marie Scheuchl) and fathering a child (Albine).[4] Certainly there is a love song, (Wo der Goldregen steht), and the pains of Berg’s separation from mother and child might be represented in Lied des Schiffesmädels and Abschied (Naude 1997 p.18-19). The theme of the work is clearly ‘fatalistic’, and thus the (presence of) 23 in the total number of bars might be seen to be in accordance with Berg’s belief (at this time) that this number denoted his ‘fate’ – a belief that I have explored elsewhere.
Dale Harris
Copyright Dale Harris c. 2009 All Right Reserved
Berg was first given private tuition by Schoenberg in 1904 (ending in 1910) and his serious compositions under Schoenberg’s tutorage include his Piano Sonata Opus 1 and Four Songs Opus 2. In the first of these, it can be seen that Berg uses 5 and 23 as structural determinants:
Figure 2-1. Basic Form of Berg’s Piano Sonata, Op.1 (1907-8)
1-55 exposition 55 bars (x 2)
56-110 development 55 bars
111-179 recapitulation 69 bars
The 55 bar exposition (5 x 11) is repeated and at 110 bars, is exactly twice the length of the 55 bar development section.[1] As will be seen later in this thesis, Berg very often uses multiples of 5 and 10 as structural determinants. The recapitulation section is 69 bars in length (3 x 23). Berg would often write the number 69 in his later manuscripts as ‘23 x 3 takte’ although he has not done so here. There are no metronome markings in the score.
Two early songs ‘Im Zimmer’ (crotchet = 82) and ‘Liebesode’ (crotchet = 63) in Wiener Stadtbibliothek manuscripts have had their metronome markings subsequently altered (to multiples of 23: crotchet = 69 and crotchet = 46 respectively) for publication in Berg’s ‘Seven Early Songs’.[2]
The structure of Berg’s next published work - Vier Leider für eine Singstimme mit Klavier 1908-10 (Four Songs Opus 2) – features another multiple of 23 in the total number of bars in the work:
Figure 2-2. Basic Form of Berg’s Songs Op. 2, numbers 1-4 (1908-10)
I 1-30 (30 bars)
II 1-30 (30 bars)
III 1-30 (30 bars)
IV 1-25 (30 bars)
TOTAL = 115 bars
The first three songs are 30 bars each in length and the fourth movement is 25 bars: (30+30+30+25). Thus, the total number of bars is 115 bars - (115 = 23 x 5).[3] Moreover, multiples of 5 and 10 are also very clearly present in the structures of each of the songs (i.e. 30 = 10 x 3, 5 x 6 ; 25 = 5 x 5).
The architect Hermann Watznauer, who was Berg’s mentor, claimed that Op. 2 was inspired by Berg’s experiences of his first love affair (with his servant Marie Scheuchl) and fathering a child (Albine).[4] Certainly there is a love song, (Wo der Goldregen steht), and the pains of Berg’s separation from mother and child might be represented in Lied des Schiffesmädels and Abschied (Naude 1997 p.18-19). The theme of the work is clearly ‘fatalistic’, and thus the (presence of) 23 in the total number of bars might be seen to be in accordance with Berg’s belief (at this time) that this number denoted his ‘fate’ – a belief that I have explored elsewhere.
Dale Harris
Copyright Dale Harris c. 2009 All Right Reserved
Thursday, 10 September 2009
Paul McCartney: Flaming Pie CD Review
This is probably one of Paul McCartney's slicker CD's. If you like strong non-throw-away songs this is the one for you. For the historians out there, the album is in the same vein as "McCartney" (1969) and McCartney II (1980) and fans of these two will definitely be pleased with "Flaming Pie" as on some tracks Paul returns to playing all the instruments in the band. Moreover, there seems to be a hint of The Beatles 1968 The Beatles: the White Album in terms of sound production, thanks to Geoff Lynne and George Martin, and in the immense variety of the songs.
Understandably then, the album probably owes its variety to three key personnel line-ups:
1. McCartney mostly Solo (e.g. Calico Skies, etc.); 2. McCartney and in a band line-up (e.g. Flaming Pie, The World Tonight); 3. and guest spots make up the remainder with Ringo Starr and George Martin (Beautiful Night), Geoff Lynne (If You Wanna), and Paul's son James (Heaven On A Sunday), to name a few.
Anyone who loved the simplicity and directness of McCartney II, as I did, will really love "Really Love You". So the combination of good songs, intelligent production, contributions from former Beatles, a fair vocal effort - perhaps not in the same league as a younger Paul - and some well-produced vocals from Linda this wins my vote any day for one of the best Paul McCartney CD's on the market.
Dale Harris, copyright 2009. All rights are reserved.
Understandably then, the album probably owes its variety to three key personnel line-ups:
1. McCartney mostly Solo (e.g. Calico Skies, etc.); 2. McCartney and in a band line-up (e.g. Flaming Pie, The World Tonight); 3. and guest spots make up the remainder with Ringo Starr and George Martin (Beautiful Night), Geoff Lynne (If You Wanna), and Paul's son James (Heaven On A Sunday), to name a few.
Anyone who loved the simplicity and directness of McCartney II, as I did, will really love "Really Love You". So the combination of good songs, intelligent production, contributions from former Beatles, a fair vocal effort - perhaps not in the same league as a younger Paul - and some well-produced vocals from Linda this wins my vote any day for one of the best Paul McCartney CD's on the market.
Dale Harris, copyright 2009. All rights are reserved.
Tuesday, 8 September 2009
Alban Bergs 23 Code Cipher Cryptogram
In 2004, Dale Harris discovered that 23 is literally Alban Berg's full birth-name name spelt in numerology using the sums of the vowels, consonants and vowel+consonants (or 7+9+7). Likewise, Hanna Fuchs is 10, Schoenberg is 13 using the same process. Dale Harris is a professional classical guitarist and based in London and Surrey, England, UK.
Lyric Suite, Violin Concerto, and other compositions by the Austrian (12-tone) composer Alban Berg refer to the number 23 as a reference to himself and his 'fate'. Musical sequences occur for 23 bars (or multiples). Tempo markings are written in multiples of 23-bpm (or multiples). The number is used by Berg to represent himself, as indicated in the secret score for the Lyric Suite that was in the possession of Hanna Fuchs-Robettin for so long. Further reading on this area of Berg research should be conducted before reading my research (e.g. Douglas Jarman is possibly the first and best place to start, but also include George Perle and Anthony Pople).
My PhD 'Cryptograms in the music of Alban Berg' was submitted to the University Of Kent in 2004 and was well received by my peers (Douglas Jarman and Geoffrey Poole). In my publication, I made specific reference to the frequently occurring number references in Berg's music and explained them using a decipherment technique. The results were uncanny.
Further reading can be found in the PhD from Canterbury University.
Author: Dale Harris
Title: Cryptograms In The Music Of Alban Berg
Place Of Publish: University Of Kent, UK
Year: September 2004
Research Supervisors: Roderick Watkins, Douglas Jarman.
Research Examiner: Geoffrey Poole
Contact the music department (Canterbury University) or Kent University library for further details.
Dale Harris
Copyright Dale Harris c. 2009 All Right Reserved
Lyric Suite, Violin Concerto, and other compositions by the Austrian (12-tone) composer Alban Berg refer to the number 23 as a reference to himself and his 'fate'. Musical sequences occur for 23 bars (or multiples). Tempo markings are written in multiples of 23-bpm (or multiples). The number is used by Berg to represent himself, as indicated in the secret score for the Lyric Suite that was in the possession of Hanna Fuchs-Robettin for so long. Further reading on this area of Berg research should be conducted before reading my research (e.g. Douglas Jarman is possibly the first and best place to start, but also include George Perle and Anthony Pople).
My PhD 'Cryptograms in the music of Alban Berg' was submitted to the University Of Kent in 2004 and was well received by my peers (Douglas Jarman and Geoffrey Poole). In my publication, I made specific reference to the frequently occurring number references in Berg's music and explained them using a decipherment technique. The results were uncanny.
Further reading can be found in the PhD from Canterbury University.
Author: Dale Harris
Title: Cryptograms In The Music Of Alban Berg
Place Of Publish: University Of Kent, UK
Year: September 2004
Research Supervisors: Roderick Watkins, Douglas Jarman.
Research Examiner: Geoffrey Poole
Contact the music department (Canterbury University) or Kent University library for further details.
Dale Harris
Copyright Dale Harris c. 2009 All Right Reserved
Wednesday, 2 September 2009
Wedding Classical Guitar Music
CLASSICAL GUITAR WEDDING: Romantic Classical Music For Your Wedding Ceremony & Function. Special Church Ceremony Entertainment For London and the South-East, England, Wales and Scotland.
CD Releases
The release of Espiritu de la Guitarra heralded the first solo commercial Spanish guitar release from Dale Harris. The new CD features Spanish and Paraguayan music by Albéniz, Tárrega, Sor, De Murcia and Barrios Mangoré. A further three CD's by Dale Harris are available on CD and download: The Music Of Dale Harris: A Case Of The Spanish Guitar, Dark Tales, Idyll: European Guitar Music and Reverie On A Hill.
Education & Training
Qualifications
First class B.A.(Hon) degree in music
M.A. in classical guitar performance
PhD in musicology
Grade 8 Classical Guitar
Grade 8 Classical Guitar
Doctor of Musicology (PhD), professional solo classical guitarist, electric guitarist, baroque lutenist, Beatle-George Harrison impersonator.
Dale Harris is an English guitarist whose transcriptions of works such as Richard Wagner’s German opera ‘Tristan And Isolde’ and Queen’s ‘Bohemian Rhapsody’ are fast contributing to his reputation as a heavyweight arranger-performer in the solo-guitar world. Dale Harris has performed with The Lorne Gibson Trio and Sir Cliff Richard.
Experience
Dale continues to work with the leading wedding entertainment agencies and contacts in the uk playing both guitar and the lute.
Dale continues to work with the leading wedding entertainment agencies and contacts in the uk playing both guitar and the lute.
Dale Harris was born in West London, in 1968. Initially taught by his father, Dale began playing the guitar at the age of four and gave his first solo public performance at age 7. Dale has given numerous concerts as a professional guitarist for more than 25 years.Dale Harris CD/MP3 Releases On Cryptogram Records
Espiritu de la Guitarra
Dark Tales
Reverie On A Hill
The Music Of Dale Harris: A Case Of The Spanish Guitar
Idyll: European Guitar Music
Contact Dale Harris: info@dale-harris.co.uk, mobile: 07941 582194 (UK)
The whole of England and Wales including: London & Home counties, Avon, Bedfordshire, Berkshire, Buckinghamshire, Cambridgeshire, Central, Cheshire, Cleveland, Cornwall, Devon, Essex, Hampshire, Kent, Manchester, Liverpool, Surrey, Sussex, etc.
Dale's Typical Wedding Classical Guitar Music Repertoire
Felix Mendelsson: Wedding March
Richard Wagner: Bridal Chorus
Mauro Giuliani: Variations On A Theme By G.F. Handel, Op.107
John Lennon & Paul McCartney: And I Love Her
George Harrison: Here Comes The Sun
George Harrison: Here Comes The Sun
Stanley Myers: Cavatina
Francisco Tárrega: Recuerdos de la Alhambra
Trad. Spanish: Romanza (Spanish Romance)
J. Rodrigo: Adagio From Concierto De Aranjuez (ed. Harris)
G. F. Handel: Sarabande
G. F. Handel: Sarabande
Dale Harris London-based professional classical guitarist and baroque lutenist performer for special occasions romantic musical entertainment for your wedding. An ideal live music performance act for your special day including both formal wedding isle ceremony and informal cocktail or party reception for your guests. Romantic sounds played by a wedding music expert for your church or venue. Spanish, Latin, Flamenco, South American guitar sounds for corporate functions. Renaissance or baroque lute music for an intimate service.
Official Dale Harris website #1: www.dale-harris.com
Official Dale Harris website #2: www.dale-harris.co.uk
Official Dale Harris website #3: www.daleharris.net
Official Facebook: www.facebook.com/daleharrisguitar
Official Twitter: www.twitter.com/daleharris
Official Dale Harris website #1: www.dale-harris.com
Official Dale Harris website #2: www.dale-harris.co.uk
Official Dale Harris website #3: www.daleharris.net
Official Facebook: www.facebook.com/daleharrisguitar
Official Twitter: www.twitter.com/daleharris
Friday, 21 August 2009
Dale Harris: Facebook Fan Page
Dale Harris is now on Facebook: just click on the link to become a fan.
Wednesday, 12 August 2009
John McLaughlin: Past, Present and Future
The following is a review on John McLaughlin's Electric Guitarist CD, that I submitted for publication in December 2008:
'Electric Guitarist' (1978) came to fruition due to McLaughlin arriving at a very distinct crossroads. His record company CBS/Columbia pressurised McLaughlin to return to the electric guitar after the inevitable drop-off of record sales since disbanding wild electric Hendrix-influenced 'Mahavishnu Orchestra' and emerging with the sophisticated acoustic Indian-fusion ensemble Shakti (despite the immense quality of the latter). Thus, this was the first of McLaughlin's two 'contractual-obligation' albums (Electric Dreams followed in 1979). Not that this means a diminished sense of responsibility and reduction of quality compositions and performances. In fact, instead of a re-hash of the Mahavishnu formula that Columbia probably expected, McLaughlin finds a new 'sound' that is more Indian (using a scalloped electric guitar neck to facilitate Indian-esque micro-tonal string bends in 'New York On My Mind'), more funky (using a Mu-tron Envelope Follower in 'Are You The One?' or a 'Flange' effect in 'Phenomenon: Compulsion'), and more Jazzy (although amplified via a Leslie cabinet plus with a extra heavy bass string tuned down to a low A pitch to create a drone effect on 'My Foolish Heart'). Even the title 'Electric Guitarist' (complete with a boyhood picture of the maestro on the front cover) may even be a subtle dig at his record label. There are parallels with Jack Bruce's Things We Like (1970) too as an example of another 'contractual' album, this time completed for another major record label Polydor. The ex-Cream Bassist turned to McLaughlin back in 1970 for his help (plus McLaughlin needed the money to fund his invitation to join with Tony Williams' Lifetime, a trip to the USA that he could ill-afford). Bruce returns the favour on 'Are You The One', a vocal narrative stating the title by the former 'Lifetime' Trio which is a brilliant tongue-in-cheek fusion of blues and funk with just a hint of Shakti's Get Down And Sruti. Further backwards glances are found in the tribute to John Coltrane 'Do You Hear The Voices You Left Behind' (Chick Corea on Moog synth plus Stanley Clarke and Jack DeJohnette). The harmonic progression from Coltrane's Giant Steps are re-worked into this new McLaughlin tune, which commences with a brief slow and thoughtful melody followed by an up-tempo recapitulation plus some of the best improvisation on any McLaughlin album. Each track consists of different ensembles - a formula that McLaughlin would return to on The Promise (1995) - all with old band members such as ex-Mahavishnu's Billy Cobham (a Mahavishnu McLaughlin-Cobham duet 'Phenomenon: Compulsion' returns to wild rock), Michael Walden, Stu Goldberg and Jerry Goodman, ex-Lifetime Tony Williams and Jack Bruce, ex-Miles Davis' Chick Corea and Jack DeJohnette. Carlos Santana appears after the 1973 McLaughlin/Santana collaboration Love Devotion Surrender album, plus many notable others including Stanley Clarke, David Sanborn, etc. For it's inventiveness, diversity, and multiple personalities 'Electric Guitarist' would very well be one of my top 10 'desert island disc' selections. This is a also favourite of my five year old niece; which in many ways shows that inherent directness and simplicity is at the heart of the music. Thus, one can nullify the 'pre-conceived' notion of McLaughlin complexity so that both fans and new listeners to the work of one of the most-important jazz-guitarists of the 20th Century should absolutely adore.
c.2008 Dale G. Harris: All Rights Reserved
'Electric Guitarist' (1978) came to fruition due to McLaughlin arriving at a very distinct crossroads. His record company CBS/Columbia pressurised McLaughlin to return to the electric guitar after the inevitable drop-off of record sales since disbanding wild electric Hendrix-influenced 'Mahavishnu Orchestra' and emerging with the sophisticated acoustic Indian-fusion ensemble Shakti (despite the immense quality of the latter). Thus, this was the first of McLaughlin's two 'contractual-obligation' albums (Electric Dreams followed in 1979). Not that this means a diminished sense of responsibility and reduction of quality compositions and performances. In fact, instead of a re-hash of the Mahavishnu formula that Columbia probably expected, McLaughlin finds a new 'sound' that is more Indian (using a scalloped electric guitar neck to facilitate Indian-esque micro-tonal string bends in 'New York On My Mind'), more funky (using a Mu-tron Envelope Follower in 'Are You The One?' or a 'Flange' effect in 'Phenomenon: Compulsion'), and more Jazzy (although amplified via a Leslie cabinet plus with a extra heavy bass string tuned down to a low A pitch to create a drone effect on 'My Foolish Heart'). Even the title 'Electric Guitarist' (complete with a boyhood picture of the maestro on the front cover) may even be a subtle dig at his record label. There are parallels with Jack Bruce's Things We Like (1970) too as an example of another 'contractual' album, this time completed for another major record label Polydor. The ex-Cream Bassist turned to McLaughlin back in 1970 for his help (plus McLaughlin needed the money to fund his invitation to join with Tony Williams' Lifetime, a trip to the USA that he could ill-afford). Bruce returns the favour on 'Are You The One', a vocal narrative stating the title by the former 'Lifetime' Trio which is a brilliant tongue-in-cheek fusion of blues and funk with just a hint of Shakti's Get Down And Sruti. Further backwards glances are found in the tribute to John Coltrane 'Do You Hear The Voices You Left Behind' (Chick Corea on Moog synth plus Stanley Clarke and Jack DeJohnette). The harmonic progression from Coltrane's Giant Steps are re-worked into this new McLaughlin tune, which commences with a brief slow and thoughtful melody followed by an up-tempo recapitulation plus some of the best improvisation on any McLaughlin album. Each track consists of different ensembles - a formula that McLaughlin would return to on The Promise (1995) - all with old band members such as ex-Mahavishnu's Billy Cobham (a Mahavishnu McLaughlin-Cobham duet 'Phenomenon: Compulsion' returns to wild rock), Michael Walden, Stu Goldberg and Jerry Goodman, ex-Lifetime Tony Williams and Jack Bruce, ex-Miles Davis' Chick Corea and Jack DeJohnette. Carlos Santana appears after the 1973 McLaughlin/Santana collaboration Love Devotion Surrender album, plus many notable others including Stanley Clarke, David Sanborn, etc. For it's inventiveness, diversity, and multiple personalities 'Electric Guitarist' would very well be one of my top 10 'desert island disc' selections. This is a also favourite of my five year old niece; which in many ways shows that inherent directness and simplicity is at the heart of the music. Thus, one can nullify the 'pre-conceived' notion of McLaughlin complexity so that both fans and new listeners to the work of one of the most-important jazz-guitarists of the 20th Century should absolutely adore.
c.2008 Dale G. Harris: All Rights Reserved
Monday, 3 August 2009
Tips For The Gigging Classical-Spanish Guitarist
Concerts, recitals, gigs. Whatever you call them, concerts in all genres have many things in common. In classical, the process of the musical side of the preparation is well-known; e.g. material, performance technique, programme notes, visual presentation or 'image', announcements, etc. I do not intend to expand on these matters in this article. Instead, the issue of how the music arrives at the audience is my interest here.
In classical, the authentic approach is 'acoustic'. Take a guitar, foot-rest, music, music stand. Arrange a suitable chair, or take your own. Is that it? Well, no. What about your mailing or fan list, business contact cards, CD's to sell? So, you must have a CD as it has the potential to reach a number of potential new listeners and is a great souvenir for your audience to remember you by. You'll need an on-line personal website and hopefully a presence on myspace, facebook fan page, linkedin, etc. A camcorder gets you onto youtube, and you can learn from your mistakes if your record your concerts too. These are all important if you would like to maintain contact with your audience and for a possible repeat ticket sale in the future. But is that it? I'd say no.
What about taking a small acoustic amp to your concert? If you don't know much about the acoustic in the venue, a small boost can make all the difference. You don't want your audience to strain their ears in order to hear you do you? They might go to hear a violin next time if you don't have this option available to you. AER make a great little 40 watt Alpha amp, but you'll need a transducer pick-up, like a Fishman SBT. Add an equalizer and preamp to your set-up and the sound will be even better. But is that it? If you want to stay as near to authentic within reason, I'd say yes. If you want to play to bigger halls and a bigger audience, then I'd again say no.
What about putting together a 300-600 (at 8 ohms) watt P.A. system? You'll need either a power amp, mixer and speakers or powered mixer and speakers. Don't forget the speaker stands, and check the speaker output of your mixer to the inputs on the speakers; in combinations of either 3-pin XLR, TRS jack or Speakon. The more authentically inclined can add to this a condenser microphone and stand (and xlr cable) ensuring that your mixing desk has phantom power for the microphone otherwise you'll need a seperate pre-amp. Your pre-amp may be small like a Buddybox, or 19" rack pre-amp but you'll probably need a flightcase for that! Your speakers should be small. About 10" woofer plus tweeter is fine for guitar, and it'll leave room in the boot of your car for the case of Remy Martin or Bollinger. Add a digital reverb or ensure your mixer comes equipped with FX just in case you play dry horrible venues. But is that it? If you want to stay semi-authentic and don't mind upsetting a few diehards then I'd say yes. If you want to play to even bigger halls and a much bigger audience and don't mind upsetting the entire authenic brigade, then I'd again say no.
Unless you have roadies, can afford to pay excess baggage when jetting to international venues, then your acoustic guitar can cause you too much time consumption when either setting up the sound, or a feedback nightmare if you need to crank up the volume to your 500+ audience. Then you might need to have an electro-acoustic guitar to hand. I used to use an ovation electric classical, and have tried a number of other models. By far the easiest and most authentic sounding electro classical guitar is the Godin Grand Concert. Plug in your jack to an amp or PA and it'll sound good, and rarely if ever feeds back. Plus it has outputs to midi, so you can score out your compositions and arrangements, and have access to synth sounds. If you want to go bigger than this then you'll need a power amp rating of 1200 watts at 2ohms, and a three tier (bass/mid/top range) system. Then you'll need a van and a physiotherapist and chiropractor for your back pain after carrying all that gear to your gig, and regular hearing checks would help too. But rest easy in that you'll be able to afford to cope with all the physical ailments as your ticket sales should have substantially increased. If they haven't, then you'd better go back to playing acoustically and 'authentically'.
DH
In classical, the authentic approach is 'acoustic'. Take a guitar, foot-rest, music, music stand. Arrange a suitable chair, or take your own. Is that it? Well, no. What about your mailing or fan list, business contact cards, CD's to sell? So, you must have a CD as it has the potential to reach a number of potential new listeners and is a great souvenir for your audience to remember you by. You'll need an on-line personal website and hopefully a presence on myspace, facebook fan page, linkedin, etc. A camcorder gets you onto youtube, and you can learn from your mistakes if your record your concerts too. These are all important if you would like to maintain contact with your audience and for a possible repeat ticket sale in the future. But is that it? I'd say no.
What about taking a small acoustic amp to your concert? If you don't know much about the acoustic in the venue, a small boost can make all the difference. You don't want your audience to strain their ears in order to hear you do you? They might go to hear a violin next time if you don't have this option available to you. AER make a great little 40 watt Alpha amp, but you'll need a transducer pick-up, like a Fishman SBT. Add an equalizer and preamp to your set-up and the sound will be even better. But is that it? If you want to stay as near to authentic within reason, I'd say yes. If you want to play to bigger halls and a bigger audience, then I'd again say no.
What about putting together a 300-600 (at 8 ohms) watt P.A. system? You'll need either a power amp, mixer and speakers or powered mixer and speakers. Don't forget the speaker stands, and check the speaker output of your mixer to the inputs on the speakers; in combinations of either 3-pin XLR, TRS jack or Speakon. The more authentically inclined can add to this a condenser microphone and stand (and xlr cable) ensuring that your mixing desk has phantom power for the microphone otherwise you'll need a seperate pre-amp. Your pre-amp may be small like a Buddybox, or 19" rack pre-amp but you'll probably need a flightcase for that! Your speakers should be small. About 10" woofer plus tweeter is fine for guitar, and it'll leave room in the boot of your car for the case of Remy Martin or Bollinger. Add a digital reverb or ensure your mixer comes equipped with FX just in case you play dry horrible venues. But is that it? If you want to stay semi-authentic and don't mind upsetting a few diehards then I'd say yes. If you want to play to even bigger halls and a much bigger audience and don't mind upsetting the entire authenic brigade, then I'd again say no.
Unless you have roadies, can afford to pay excess baggage when jetting to international venues, then your acoustic guitar can cause you too much time consumption when either setting up the sound, or a feedback nightmare if you need to crank up the volume to your 500+ audience. Then you might need to have an electro-acoustic guitar to hand. I used to use an ovation electric classical, and have tried a number of other models. By far the easiest and most authentic sounding electro classical guitar is the Godin Grand Concert. Plug in your jack to an amp or PA and it'll sound good, and rarely if ever feeds back. Plus it has outputs to midi, so you can score out your compositions and arrangements, and have access to synth sounds. If you want to go bigger than this then you'll need a power amp rating of 1200 watts at 2ohms, and a three tier (bass/mid/top range) system. Then you'll need a van and a physiotherapist and chiropractor for your back pain after carrying all that gear to your gig, and regular hearing checks would help too. But rest easy in that you'll be able to afford to cope with all the physical ailments as your ticket sales should have substantially increased. If they haven't, then you'd better go back to playing acoustically and 'authentically'.
DH
Tuesday, 28 July 2009
UK Tesco Scam, beware guys!
A 'heads up' for those men who may be regular Tesco customers. This one caught me by surprise.
Just before I left for a series of concerts in France, I became a victim of a clever scam while out shopping. Simply going out to get shopping has turned out to be quite traumatic. Don't be naive enough to think it couldn't happen to you or your friends. Here's how the scam works:
Two seriously good-looking 20-21 year-old girls come over to your car as you are packing your shopping into the car-boot. They both start wiping your windshield with a rag and cleaning spray, with their breasts almost falling out of their skimpy T-shirts. It is impossible not to look. When you thank them and offer them a tip, they say 'No' and instead ask you for a ride to McDonalds. You agree and they get into the back seat. On the way, they start undressing. Then one of them climbs over into the front seat and starts crawling all over you, while the other one steals your wallet.
I had my wallet stolen June 4th, 9th, 10th, twice on the 15th, 17th, 20th, 24th & 29th. Also July 1st & 4th, and twice on the 8th, three times yesterday and very likely again tomorrow morning. So tell your friends to be careful. P.S. Tesco has wallets on sale for 2.99 each. I found cheaper ones for 1.99 at Asda and bought them out. Also, you never will get to eat at McDonalds. I've already lost 6 kilos just running back and forth to Tesco.
Just before I left for a series of concerts in France, I became a victim of a clever scam while out shopping. Simply going out to get shopping has turned out to be quite traumatic. Don't be naive enough to think it couldn't happen to you or your friends. Here's how the scam works:
Two seriously good-looking 20-21 year-old girls come over to your car as you are packing your shopping into the car-boot. They both start wiping your windshield with a rag and cleaning spray, with their breasts almost falling out of their skimpy T-shirts. It is impossible not to look. When you thank them and offer them a tip, they say 'No' and instead ask you for a ride to McDonalds. You agree and they get into the back seat. On the way, they start undressing. Then one of them climbs over into the front seat and starts crawling all over you, while the other one steals your wallet.
I had my wallet stolen June 4th, 9th, 10th, twice on the 15th, 17th, 20th, 24th & 29th. Also July 1st & 4th, and twice on the 8th, three times yesterday and very likely again tomorrow morning. So tell your friends to be careful. P.S. Tesco has wallets on sale for 2.99 each. I found cheaper ones for 1.99 at Asda and bought them out. Also, you never will get to eat at McDonalds. I've already lost 6 kilos just running back and forth to Tesco.
Rare FX Pedal: Able Bassmaker by John Rogers
I often use an Able Bassmaker in my set-up. They were made by John Rogers who was based in Pwllheli (Gwynedd), in Wales, UK. I phoned him up one day, long after he stopped production, and he very kindly made me a one-off. I now read that pedal cannot be purchased anymore which is a shame as it is a unique (and perhaps 'quirky') pedal.
The bassmaker acts as an intelligent octaver. A filtering process allows the octaver section to kick in on the lowest notes. However, how it does this I'm not so sure. There is an op-amp on the board, but I believe the easiest way to filter the bass-end is to couple a resistor and potentiometer (not unlike the tone control in an electric guitar). As standard analog octavers process monophonically ( e.g., such as the Boss OC-2/OC-3), the filtered signal cuts out some of the frequencies that confuse the pedal when playing polyphonically. The bassmaker does get confused but it is just hidden better; this adds to my hunch that the filtering process is achieved via the potentiometer itself (the other pot serves as gain of the octave section only)and not via the circuitry.
I hereby invite comments, especially if there is anything technical to add concerning the electronic workings of the Bassmaker. Moreover, he made a strings/synth pedal for guitar; do you remember the name of this?
Meanwhile you can view videos of me using the bassmaker at the following locations:
http://www.youtube.com/daleharrisguitar
http://www.youtube.com/user/musicianshive
http://www.youtube.com/user/europalivemusic
http://www.youtube.com/user/b4udr
The bassmaker acts as an intelligent octaver. A filtering process allows the octaver section to kick in on the lowest notes. However, how it does this I'm not so sure. There is an op-amp on the board, but I believe the easiest way to filter the bass-end is to couple a resistor and potentiometer (not unlike the tone control in an electric guitar). As standard analog octavers process monophonically ( e.g., such as the Boss OC-2/OC-3), the filtered signal cuts out some of the frequencies that confuse the pedal when playing polyphonically. The bassmaker does get confused but it is just hidden better; this adds to my hunch that the filtering process is achieved via the potentiometer itself (the other pot serves as gain of the octave section only)and not via the circuitry.
I hereby invite comments, especially if there is anything technical to add concerning the electronic workings of the Bassmaker. Moreover, he made a strings/synth pedal for guitar; do you remember the name of this?
Meanwhile you can view videos of me using the bassmaker at the following locations:
http://www.youtube.com/daleharrisguitar
http://www.youtube.com/user/musicianshive
http://www.youtube.com/user/europalivemusic
http://www.youtube.com/user/b4udr
Sunday, 26 July 2009
When in France ... do as the English do?
Having been performing in France this summer, I've a few observations that I hope will be of use to other musicians who have yet to have performed in this part of Europe.
Booking: When booking in France, it is imperative that your accent is perfect French. This is especially the case when your interpreter is male. Say any word with a hint of accent and they will (pretend?) not to 'comprehend' you. Also, your intended concert start time is given to you as set in stone, but on the day your start time may vary by up to three hours and in some cases your French agent will pretend that such a booking never happened at all (note: you may telephone your French connection beforehand, and be assured that all is on track!).
Your fee: Whatever the amount you understand to have negotiated is really only an approximation. Agree a fee of €200 and you might be paid €100. Your contract may state whatever the establishment likes. You should be pleased to be working for the French.
Contract: only the big venues agree to a contract with you. When they do require a contract with you they will want ask for your social security number, bank details, address, proof of id, etc. In most cases, I'm informed that asking for a contract is an affront to their 'trustworthiness'.
The concert: you must arrive late. Arrive early and your contacts won't be there. Dare to set-up and you'll have to move everything. Your contact often won't inform his (or her) staff about your event. He's just too busy!
Your audience: generally nice and there is usually no problem there.
Bar staff: in cafes, expect hostile reception from the male waiters. They cannot possibly charm their customers for tips if some half-wit is making music/noise and may be paid more than him (especially when the singing is non-traditional French songs).
Collecting your fee: you may be paid in whatever format the venue likes. I've heard that it can often be on the evening after the concert but this can change to 'collect it tomorrow'. The venue reserves the right of turning their phone off the next day. My cheque took two months to arrive after the concerts and it's in Euro's meaning that, unless you have a European bank account, your UK bank will deduct huge amounts in 'costs' and 'exchange'. Frankly, I'd given up that they would ever pay me at all. Now I'm left wondering how the taxman decides what a Euro earned abroad is actually worth?
Booking: When booking in France, it is imperative that your accent is perfect French. This is especially the case when your interpreter is male. Say any word with a hint of accent and they will (pretend?) not to 'comprehend' you. Also, your intended concert start time is given to you as set in stone, but on the day your start time may vary by up to three hours and in some cases your French agent will pretend that such a booking never happened at all (note: you may telephone your French connection beforehand, and be assured that all is on track!).
Your fee: Whatever the amount you understand to have negotiated is really only an approximation. Agree a fee of €200 and you might be paid €100. Your contract may state whatever the establishment likes. You should be pleased to be working for the French.
Contract: only the big venues agree to a contract with you. When they do require a contract with you they will want ask for your social security number, bank details, address, proof of id, etc. In most cases, I'm informed that asking for a contract is an affront to their 'trustworthiness'.
The concert: you must arrive late. Arrive early and your contacts won't be there. Dare to set-up and you'll have to move everything. Your contact often won't inform his (or her) staff about your event. He's just too busy!
Your audience: generally nice and there is usually no problem there.
Bar staff: in cafes, expect hostile reception from the male waiters. They cannot possibly charm their customers for tips if some half-wit is making music/noise and may be paid more than him (especially when the singing is non-traditional French songs).
Collecting your fee: you may be paid in whatever format the venue likes. I've heard that it can often be on the evening after the concert but this can change to 'collect it tomorrow'. The venue reserves the right of turning their phone off the next day. My cheque took two months to arrive after the concerts and it's in Euro's meaning that, unless you have a European bank account, your UK bank will deduct huge amounts in 'costs' and 'exchange'. Frankly, I'd given up that they would ever pay me at all. Now I'm left wondering how the taxman decides what a Euro earned abroad is actually worth?
Wednesday, 22 April 2009
Download Guitar Music by Dale Harris on MP3 for FREE!
I have made available two downloads of complete and unreleased tracks for FREE for access by anyone who visits my page at www.reverbnation.com/daleharris
PLEASE NOTE: to download the free music you must register with reverbnation (a simple process and they DO NOT hassle you!) and become a fan of Dale Harris.
There are other sample tracks available to listen and /or download at the following address: http://www.reverbnation.com/tunepak/1395281
I have future plans to post other exclusive tracks here as well so watch this space!
Thanks!
DH
PLEASE NOTE: to download the free music you must register with reverbnation (a simple process and they DO NOT hassle you!) and become a fan of Dale Harris.
There are other sample tracks available to listen and /or download at the following address: http://www.reverbnation.com/tunepak/1395281
I have future plans to post other exclusive tracks here as well so watch this space!
Thanks!
DH
Subscribe to:
Posts (Atom)