Holds Worth Video Guide

fillilil

lt$m$ff[RTll

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. 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. You'll see incredible close-up shats

af

Altan's amazing technique as the band pertorms several compositions. ln the special teaching sections Allan explains

ten

scales and

thord

harmonies he feels are most impartant

for

imprcvising. The musit and Tab bosldet contains saale

diagrcms

and

tr*nscriptians

fra m the

live

pertormance.

,ililxIltuLililililtilill

Allan has recorded and/or performed with Jon Hiseman Soft Machine. Tony Willtans Lifelime. Gong. Bill Brufoto. Jean-Luc Ponty, Jack Bruce U.K., and Gordon Beck As a solo artist, Allan has recorded several albums and was voted Best Guitar Synthesist in "Guitar Player" magazine's Beaders' Poll 1987 through 1991

ALLAN

HOLDSWORTH

Executive

Producer

RogerHutchinson Produced and Directed

by

Don

Mock

Musical Examples and Music Editing

by

Kenn Chipkin Songs Transcribed

by

Hemme Luttjeboer

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

value at

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.

Proto

Cosmos

Intro

Moderately

Rlf A

)lzo

*

rf,nilsus tsm/sus DnrTsus

* _{Chords derivedfrom kybd. & bass gtr. parts}

(Play 4 times)

Ft'mTsus

EmTsus

DmTsus

Proto

Cosmos

--{il../rus

EnJsus

Proto

Cosmos

AmajT(#11)

Ff;maj

7

_;

trm/ sus

B,o

--Ffnilsus EnJsus

Dnr7sus ^

Proto

Cosmos cfime

.--I_-'

_r*<d

_{__J}

_{t_i}

xlrd_ _ (,

- 1 F-ln /

Ioto

Ffirr7sus

_EnJsus

_Dn7sus

:il---)\

l\j ,

r0

=-?ffi33

Proto

Cosmos Crnl.i

7

-.aa?a+,

'

-

...-T-zlf

Fflnr.rj

i

r, mi sus

T'F

h l-l

Proto

Cosmos

Amaj 7(#1

l)

Proto

Cosmos

#f---:

Proto

Cosmos

ffu"

--1^]-\

b'.tr];

3r

_riJ

_I

Proto

Cosmos

Bro--

----,

AmajT(#l

l)

t12

Gmaj 7

Cosmos

-\

To Riff A.

then to Keyboard Solo

Proto

Cosmos

FflmTsus EmTsus DnJsus

Proto

Cosmos

U4 (HalJ time J'eel) Ff,nJsus GflmTsus

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

foridentifi-cation 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. * _{pull up on bar and release}

SCALE

1

C

Major

D Minor

G7

Dominant

Example

2 Freely (AcceIerando) 1

2

3

4

5

6

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

(ExanQle 3 is deritedfrutn E minor +7

+4

-

E F# G A# B C# D#)

#4

1

2

3

4

5

6

29

SCALE

5

G#/Ab

Diminished

B

Diminished

D

Diminished

F

Diminished

Example

4

aJfiJ'tll

6a A JI u '-\t _{- -} Tl

SCALE

6

Bb Major

(Jazz)

SCALE

7

C DominanlT

(Jazz)

-tt -v

SCALE

8

B

Minor

(Jazz)

SCALE

9

SCALE

10

Symmetrical

1 l2-1

l2-1

-1 l2-1

l2-1

etc.

1

2

3

4

5

6

Moderately _fast

The

Things

You

See

t-Ehmaj I

Fmaj 7 pttrT+5

(P

h,tld

x

_{Chord names derivedft'om bass} guitar mot'emenl

The Things

You See

Ffim7+5 cadd9 Ll Aadd9 _{Ffim7+S G add9 Aadd9}

The Things

You See

o

r,+-'

+'ti+

f,r' u

frT

'\r-*1

_fic

1q

+

T

qf_

T A

The Thines

You See

The Things

You See

Cfmaj 7

Lttmaj /

Cadd4 Abmaj 7 _Abm /b)

Emaj

7

Fmaj 7

The Things

You See

DF/E Ffimaj 7

p#l

I

o

frfle

_'

hold hold

-

_nota

T A

The

Things You

See

Db9sus

The

Things

You See

Aml3 6 n669(#l

l)

Cmaj7(#l

l)

The

Things

You See Bbadd9 Bml I

_G7M

Gfima;7+5

O

LJ-I-J

L_t,L I I hold ---J-O hold A 4t)

The

Things

you

See

ro

Coda

_$

The

Things

You See

a)

*p l

_nf

_{p-==-__nf}

P--=----nf pPnf

A

* _{ltctlunte su'ells achievetl u ith t,olunte pedal}

P

-

nf pF

nf

The

Things

You See Keybd. Solo Dbmaj 7 Dbml _AhnT . a

-d

-T -49

The

Things

You See

Am(maj7.1

Guirar

Solo

A*nai7

Ffmal 7 _Emaj9(#11)

The Things

You See

-l \"

/

/

7---7-

/)t aa AJ

-T-

_-B_-,L r t- \ + t

\

_L++F]_

-E=

#

_+€

4E

The Things

You See Fflmaj 7 Emaj9(#l

l)

F

^"i7(#ll\

".al

lll- -\

(?

The Things

You See

Bro--

---

l

DbmajT loco

* Pull up rtn bar I 12 step

1./2,

.t/?

1/2

The

Bro

Things

You See

The Things

You See

The Things

You See

Bro-

-obma:1

rZ-',

_/:\

"Y--

-;

The Things

You See

Am(maj7)

1/2 11/2

1t2

3

The

Things

You See

Br^

The Things

You See

3

wlbar

_.,,

Dbmaj 7

112

The

Things You

See

$r"-

-Fflmaj 7

The Things

You See

+t

ll

Emaj9(#1 I )

j

_{{i l)}

_:Ti+

_,

_z':-e

_,----,

Am(maj7)

1/4

1t2

The Things

You See Emaj9(#11)

The Things

You See

DbmajT

The

Things

You See

,i,!+ffit

a.

t ll

q?t

Am(maj7;

fEfE

The Things

you

_See

1/2

The

Things

You See

EbmaiT

Coda

_$

The Things

You See

D.S.

al

Coda

$

bmal /

tt_

-.-!-14

The Things

You See

Am(maj7.1

70

T-3

,*l

Ffmaj 7

The Things You

See

ir

Emaj9(#11) AJ

VA'

+J'

-+--+7)

hold

_----

hold

--rl

H{

a) hold

-

/ |

'

The

Things

You See

FreelY

|

2. r,nuie,*ttt

g-7+5

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

76

Example

l0

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.

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

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

1

2

3

4

5

6

8'l