February 11, 2019


Watching Allan Holdsworth perform may leave you with the impression wide- interval licks and ideas that you’ve never had access to before. Welcome to my second column/lesson! This month I’d like to talk about one of my favorite players of all time – Allan Holdsworth. He’s been a big influence in the.

Author: Doushakar Grokinos
Country: Tunisia
Language: English (Spanish)
Genre: Automotive
Published (Last): 5 July 2004
Pages: 116
PDF File Size: 16.15 Mb
ePub File Size: 16.37 Mb
ISBN: 796-9-50024-757-3
Downloads: 83978
Price: Free* [*Free Regsitration Required]
Uploader: Mogis

Rather, this was what I took out of his style and approach.

Further, notice how Allan ends the phrase in bar 11 with a chromatic line that when compared to the vamp gives us both the b6, the natural a,lan, the b7, and the natural 7.

Another string skipping idea is used throughout measures where the scales used are: Being a rock guy, I tend to apply all of my techniques to the pentatonic scale first then slowly branch out into other scales.

I use the same approach to ascend back up the scale. Francesco is currently part of a Metal band called Hiss of Atrocities, and has also recorded three instrumental solo projects. It is by far the most lickw challenging part and a very unique way to play up and down the pentatonic scale on one string.

An Allan Holdsworth-Inspired Pentatonic Run | Guitarworld

Allan stops on the same note allowing it to sing a bit, showing the clear change in harmony by sitting on the root for a few moments. Once again, take care to play these lines in time and with precision.

The final run in this lick is similar to the way I start the lick; I finish with a four-note run on the high E string leading into to a full bend on the 22nd fret. Launched on Monday, October 15th, I’m not saying that this the secret to his playing—not by any stretch of the imagination. Notice the almost Rubato feel the phrases have, always with such a smooth and efficient execution. Once again you can see Allan refusing to highlight only one harmonic possibility for the vamp he is playing over, choosing instead to color the simple vamp with phrases that imply more holdswortb motion than is really there.


It can seem simple, but playing all the different permutations […] Diminished Possibilities: His column at Guitar Messenger is called Technical Difficulties, and it will be focused mainly on developing different techniques such as vibrato, bending, picking, legato playing, tapping, sweeping, and every other mechanical challenges related to the guitar.

Please feel free to join me on YouTube here. This will clearly demonstrate how much Allan can bring to a rather simple progression with his masterly rhythmic and harmonic vocabulary. Allan seems to have been adding more and more tension to each phrase as the solo progresses — this last line seems to be the tensest line of the solo, capitalizing on the ambiguity of the implied dominant chord. The phrase ends with a chromatic descending line that resolves on G natural root.

Download the latest version here.

For this lick Allan is using very wide intervallic lines via string skips — something very common to his playing. This is played with all up-strokes. On the high E string, we are fretting four consecutive notes moving up the scale of the pentatonic, then we move back down the scale using the same notes. This time I would like to talk about a component of guitar playing that has always fascinated me: Adobe Flash Player version 9 or above is required to play this audio clip.


Guitar Messenger Music Magazine

I think you should have mentioned what chord each section was played over and maybe why those scales work over them. He ends the phrase on the b13 of the E vamp.

The vamp changes back to a D chord in measure 29, which is followed by another huge string skipping line which utilizes the Whole Tone scale 1 2 3 4 5 6 for the first 8 notes, and changes to a D Lydian Dominant scale 1 2 3 4 5 6 b7 for the remainder of the phrase, ending on a tritone against the D 4. The technique was what really grabbed me, rather than the theoretical side of his playing, as I was simply to young to grasp the complexities of his musical knowledge.

This is repeated on the G string, but this time its only a three-note run with the third note being the start of the arpeggio. The problem with this is that these techniques are not really suited to the pentatonic.


As with any technique I create, my main focus is that they enable me to play lines or runs that would otherwise not be possible at speed. Allan is outlining an 8 note synthetic scale, which includes both b9 and 9 — 1 b2 9 3 4 5 b6 b7.

This time I am going to dive a little deeper into the Octatonic scale. I believe it’s important to listen to as many guitar players as possible and do your best to learn something from them all.