1987 through 1991
,ililxIltuLililililtilill
"Guitar Player" magazine's Beaders' Poll
was voted Best Guitar Synthesist in
recorded several albums and
As a solo artist, Allan has
U.K., and Gordon Beck
performed with Jon Hiseman Soft Machine. Tony Willtans Lifelime. Gong. Bill Brufoto. Jean-Luc Ponty, Jack Bruce
Allan has recorded and/or
The musit and Tab bosldet contains saale diagrcms and tr*nscriptians fra m the live pertormance.
harmonies he feels are most impartant for imprcvising.
ten scales and thord
sections Allan explains
ln the special teaching
You'll see incredible close-up shats af Altan's amazing technique as the band pertorms several compositions.
This one of a kind video features Allan pertorming live in the studio with his band. drummer Chad Wa*erman. bassist $kuli Sverrissen and Steve HunI on keyboards.
s ane of the mlst unique and rospscted guitarists in the wlrld, Allan Holdsworth reveals for the lirst time on video his insights into inprovising and chordal playing.
fillilil lt$m$ff[RTll
ALLAN HOLDSWORTH Executive Producer RogerHutchinson Produced and Directed by Don Mock Musical Examples and Music Editing by Kenn Chipkin Hemme Luttjeboer Songs Transcribed by Music Engraving by John Albaugh
WARNING This book and/or the accompanying video program may not be reproduced in whole or in part by any means whatsoever, without written permission from the Publisher.
Copyright @ 1992 CPP Media Group
A division of CPPEelwin, Inc., P.O. Box 4340 Miami, FL 33014 Intemational Copyright
Secured All Rights
Reserved
Introduction
I cannot tell you that anything I think or do is right, wrong or has any real all. I do not think of myself as a teacher by any stretch of the imagination. However, the way I taught myself has somehow workedfor me. The main reason for this is, that when you find something out for yourself, it is understood on a deeper level than handed-down information; at least it was for me. Anyway, enough of that. The rest of this is really just for the curious. value at
- Allan Holdsworth
Moderately
Proto Cosmos
Intro
)lzo
Rlf A
* rf,nilsus
tsm/sus
DnrTsus
* Chords derivedfrom kybd. & Ft'mTsus
EmTsus
(Play 4 times)
bass gtr. parts
DmTsus
Proto Cosmos
--{il../rus
EnJsus
Guitar Solo
Proto Cosmos AmajT(#11)
Ff;maj
B,o
--
7;
trm/
sus
Ffnilsus EnJsus
Dnr7sus
^
Proto Cosmos cfime
.--I_-' r*
AmajT(#11)
__J t_i
xlrd_ _ (,
1/ F-ln
=-?ffi33 Ffirr7sus
Ioto
EnJsus
Dn7sus
l\j ,
:il---)\
r0
Proto Cosmos
Proto Cosmos
Crnl.i
7
.aa?a+,
Fflnr.rj
i
T'F
r, mi sus
'h
...-T-
zlf
-
l-l
Proto Cosmos
Amaj 7(#1 l)
33
Proto Cosmos
#f---: J
Proto Cosmos
ffu"- -
-1^]-\
b'.tr]; 3r
Bro-AmajT(#l
l)
----,
riJ
I
Proto Cosmos
t12
Cosmos
-\
Gmaj
7
To Riff A.
then to Keyboard Solo
Proto Cosmos FflmTsus EmTsus
FfinJsus EnJsus
DnJsus
Amaj
7
Proto Cosmos
U4
(HalJ time J'eel) Ff,nJsus
*
GflmTsus
pull up on bar and release
Lesson
1 Allan's 10 Most Useful Scales I think of scales as "sound families" (chords are just parts of them). I see a scale family from the lowest available note to the highest available note on the instrument. A name is only a means of identification and communication, but in my case, identification only. I do not think of a scale as having abeginning oran end, abottom ora top - just a sound. The name I give is foridentification only and not for signifying any particular root. I do not give a seven note scale seven different names. However, it is very important to hear and remember how each scale "sounds" starting from each and every one of these individual notes. I feel harmony should be mobile, so as chord sequences go by, try to hear these as whole "sound families" moving, instead of the four or five notes of a particular chord. SCALE CHARTS Remember, I name scales from the closest minor (as I explained before). That does not mean that you have to do the same. L C major / D minor / G7 6. B flat major add -6 2. D minor +7 (D melodic) 7 . C dominant 7 add +7 3. A minor +7 -6 (A harmonic) 8. B minor add +7 4. A minor +7 +4 9. A minor +7 add -6
5. A flat diminished 10. Symmetrical - 2 half steps and I whole step The whole tone scale is useful as well. There are only two. Start from F and make your own chart. ZJ
SCALE
1
C Major D Minor G7 Dominant
1
2 3
4 5 6
Example 2
Freely (AcceIerando)
u aJ
U
1
-
f-rl\i
A
25
SCALE 2 D Minor +7 (D Melodic Minor)
SCALE 3 A Minor +7 -6 (A Harmonic Minor)
SCALE 4 A Minor +7 +4
1
2 3 4 5
6
(ExanQle 3 is deritedfrutn E minor +7
+4 -
E F# G A# B C# D#)
#4
29
SCALE 5 G#/Ab Diminished
B Diminished
u '-\t
Tl
- -
D Diminished
F Diminished
Example 4
aJfiJ'tll 6a
A
JI
SCALE 6 Bb Major (Jazz)
SCALE 7 C DominanlT (Jazz)
-
tt -v
SCALE 8 B Minor (Jazz)
SCALE 9 A Minor +7 add -6
SCALE 10 Symmetrical 1
l2-1 l2-1
-1
l2-1
l2-1
etc.
1
2 3 4 5 6
The Things You See Moderately fast
t-
Ehmaj I
x Fmaj 7
Chord names derivedft'om bass guitar mot'emenl
pttrT+5
(P
h,tld
)t
The Things You
See Ffim7+5
o T
r,+-'
f,r'
cadd9
Ll
+'ti+ u
frT
Aadd9
'\r-*1
Ffim7+S
G add9
Aadd9
1q fic
+ T
qf_
A
6-7+5
Abadd9
The Things You See
The Thines You
See
The Things You
See
The Things You Cfmaj
o
See 7
frfle '
hold
hold
Abm /b)
Abmaj 7
Cadd4
-
nota
T A
Lttmaj
/
Ffimaj 7
Emaj
7
Fmaj
The Things You p#l
I
DF/E
7
See
The Things You See
Db9sus
6 n669(#l l)
Cmaj7(#l l) Fadd9
The Things You See Aml3
The Things You See Gfima;7+5
Bbadd9
O
LJ-I-J
G7M
Bml I
L_t,L I hold ---------
J-O
I
hold
A
4t)
The Things you See ro Coda
Freely
$
The Things You See
*p l
a)
nf
p-==-__nf
P--=----nf
pPnf
A
* ltctlunte su'ells achievetl
nf pF
P
u
ith t,olunte pedal
nf
-
The Things You See Keybd. Solo
Dbmaj 7
d T
Dbml .
AhnT a
-
49
The Things You See Am(maj7.1
-l \"
/
Ffmal 7
/
7------7-
Emaj9(#11)
aa
/)t
AJ
-T_-B_-
Guirar
Solo
The Things You
A*nai7
,L
r
t-
-E= +t\ # _+€
\
_L++F]_
4E
See
The Things You See
Fflmaj 7
The Things You See
Emaj9(#l l)
F ".al
^"i7(#ll\
lll- -\
(?
The Things You
Bro--
See
----DbmajT
l loco
1./2, .t/?
'--^,-\;,
1/2 .../
* Pull up rtn bar
I 12 step
The Things You See Bro
The Things You
Abmail
7--'
See
The Things You See
Bro-
obma:1
rZ-',
/:\
"Y--
-;
1/2 11/2
1t2
The Things You Am(maj7)
3
Flmall
See
The Things You See
The Things You
Br^
3
Dbmaj
7
112
_112 1p.
1/2
wlbar
See
.,,
The Things You See
$r"- -
j {i
l)
:Ti+
,
z':-e
,----,
Am(maj7)
The Things You See
Fflmaj 7 +t
ll
1/4
Emaj9(#1
I)
1t2
The Things You
See
Emaj9(#11)
The Things You
DbmajT
3
L3,J
3
3
See
The Things You See
,i,!+ffit
a.
t ll
q?t
Am(maj7;
fEfE 1/2
The Things you
EmajT(#11)
See
The Things You See
bmal
/
The Things You See EbmaiT
D.S. al
tt_
o
-.-!-14
Coda
$
(b)o
,o
Coda
$
The Things You
See
T-3
AJ
VA'
Am(maj7.1
,*l -+--+7) +J'
hold
----
rl hold -- --
70
The Things You Ffmaj
ir
7
Emaj9(#11)
H{ a)
hold
-
/
|
'
See
The Things You See
FreelY 2. r,nuie,*ttt |
g-7+5
A
CmajT(#11)
Lesson 2 Chord Scales when I first started to play, I would
see scales written in a book showing, for example, how to play over an altered dominant chord, and on the next page another scale to use on an altered minor chord. Because at that time I was thinking more in positions, I would practice them without realizing I was really just playing the same scale starting on a different note. I would also see a chord shape, and then on the next page, the same shape with another name. I realized then that guitar chords generally only contain four different notes. This makes the nu.ing and clarifying of chords on guitar a little more ambiguous. So it seemed to me, because of the very nature of the guitar, I could view this very differently, more from an overall picture.
Example
6
_
Example 7
15
76
Example 9
Example
Example
l0
11
Freely
80
Scalesl-5withChords The following five scale diagrams demonstrate how I derive chord voicings from the scale charts. I first find a chord voicing I like using notes from the scale and then "harmonize" it by simply moving the voicings up to the next set of notes in the scale. By continuing this process we end up with seven voicings all relating to the first chord and scale family. I've given you a chord - scale example for each of the first five scale charts.
81
SCALE
1 (with chords)
C Major D Minor G7 Dominant
1
2 3
4 5 6
SCALE 2 (with chords) D Minor +7 (D Melodic Minor)
1
2 3
4 5 6
SCALE
3 (with chords)
A Minor +7 -6 (A Harmonic Minor)
1
2 3 4 5 6
SCALE 4 (with chords) A Minor +7 +4
1
2 3
4 5 6
SCALE 5 (with chords) G#/Ab Diminished B Diminished D Diminished
F Diminished 1
2 3 4 5 6
I try
to pay anenfion to detail but detail is something that unfortunately cannot be accomplishedfor me in this medium. It is not possible to compress a lifu's love, learnings, musical desires and dreams into afew moments for all to see, hear and
understand.
,dtu@,ffi 8'l
