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.

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Random Lessons Polyphonic Writing for Keyboard: It requires immense concentration and control of your fingerings. Allan is outlining an 8 note synthetic scale, which includes both b9 and 9 — 1 b2 9 3 4 5 b6 b7.

Francesco is currently part of a Metal band called Hiss of Atrocities, and has also recorded three instrumental solo projects.

Download the latest version here. Holdsworth represents everything that is good in the realm of guitar: 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.

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 6, the b7, and the natural 7. You also need to have JavaScript enabled in your browser.

An Allan Holdsworth-Inspired Pentatonic Run | Guitarworld

To play these string skipping lines, be sure to practice at a slow tempo where you avoid hitting the string you are not playing. It starts on a C natural b7 and the phrase then descends in quarter note triplets across the next two hoodsworth ending on an Eb b9. I want to show you some of the […].


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. Please feel free to join me on YouTube here.


The first line we are going to break down mm. From here it gets tricky! I think you should have mentioned what chord each section was played holfsworth and maybe why those scales work over them. Notice again how he avoids the downbeat when starting a phrase. Rather, this was what I took out of his style and approach.

While it can be heard as a simple chromatic line, the harmonic ambiguity it sets up seems to have been very much intentional. Being a rock guy, I tend to apply all of my techniques to the pentatonic scale first then slowly branch out into other scales. 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 holdswirth all.

Launched on Monday, October 15th, Traditionally, we are taught to play scales and runs using a combination of two and three notes per string.

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. The phrase ends with a chromatic descending line that resolves on G natural root.


Holdswort are lots of exercises that help to achieve this, and I think one of the best ones is the common chromatic exercise across all strings. From here it leads into a six-string arpeggio starting on the high E and ending on the low E. Part 2 Hey guys! This line ends in measure 25, where the vamp changes to G. He […] Diminished Possibilities: In bar 12 Holdsworth concludes the phrase in the D natural minor mode 1 2 b3 4 5 b6 b7another color to highlight the harmonic ambiguity of the line that preceded it — typical Holdsworth!

The problem with this is that these techniques are not really suited to the pentatonic.

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. Allan ends this phrase in the first beat of measure 16 with a lick from hell!