lesson } JAZZ
Allan Holdsworth John Wheatcroft looks at the soloing style of a legendary and totally unique guitarist: the phenomenal Yorkshireman, Allan Holdsworth.
Holdsworth has access to a sophisticated vocabulary that is steeped in the tradition of jazz but is undeniably his own. We’re looking at his soloing style here; we’ll leave the other huge components of his playing to a later date. Our nine examples should form the basis of your research into his style. They are mostly in common time signatures and based around relatively conventional sequences. His compositions are often hugely polyrhythmic, so removing this aspect from our studies allows us to concentrate on note selection, their groupings and the articulation required to execute them cleanly. Your challenges are timing, projection and intonation. Allan employs a largely legato approach, so avoid rushing and any sloppy rhythms, especially at fast tempo. As his technique employs lots of hammer-ons and pull-offs, you’ll need to balance the volume of picked and slurred
It takes maybe a couple of years before something I’m working on now will find its way out naturally
Allan Holdsworth
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Advanced Info Key: Various Tempo: Various CD: TRACKS 73-90
Will improve your… Fluency and articulation Technique and timing Melodic sophistication
Z
appa and Shawn Lane loved him. Frank Gambale calls him the ‘Grandmaster’ and other famous guitarist fans include Eddie Van Halen, Kurt Rosenwinkel, John McLaughlin, Greg Howe, Joe Satriani and Yngwie Malmsteen. Holdsworth is a special artist, with a unique approach to music and one of the most recognisable sounds from the late 60s to the present day.
Born in 1946 in Bradford, Yorkshire, Holdsworth’s pianist father encouraged him to practise and, with remarkable discipline, he set about learning to play entirely by himself. Influenced by artists such as saxophonist John Coltrane, he determined to sound entirely like himself and worked out a personal approach to creating music, with improvisation and harmony at the core. Allan’s illustrious career began with jazz crossover groups such Tempest, Igginbottom’s Wrench, Gong, Soft Machine, Jean-Luc Ponty, Bill Bruford and Tony Williams’ Lifetime. This led to a career as a bandleader; each new release awaited by his fans and live performances attaining almost mythical status.
NEXT MONTH John looks at the jazz playing of another legato master, Tim Miller 6
7
Gain
Bass
5
5
Middle
Treble
4
Reverb
Holdsworth’s overdriven lead tone is full bodied, with a smattering of reverb, more recently delay, and with a pronounced mid-range bias. Go easy on the gain, as the fluidity of his tone is a product of his accurate legato technique and too much distortion adversely affects both dynamics and changes the vowel sound of a sustaining note.
TRACK RECORD Tales From The Vault, a compilation of unreleased tracks funded by an online Pledge campaign is awaited with baited breath. I.O.U (Enigma 1985) features breathtaking playing and beautiful compositions; The DVD, Allan Holdsworth and Alan Pasqua – Live At Yoshi’s (Wienerworld 2008), featuring Jimmy Haslip and Chad Wackerman, is great too, as are Sand, Metal Fatigue and. 82
December 2015
CLAYTON CALL / GETTY IMAGES
Allan Holdsworth with his Carvin Fatboy signature
notes. You might need to de-emphasise the pick volume, although Holdsworth has developed this skill to a degree that he can place an accent at any point, on any finger within a flurry of notes. The final consideration is intonation, especially with regard to the use of light strings and performing pull-offs. Make sure you’re not unintentionally bending as you pull, as this will drag the notes undesirably sharp.
ON THE CD
learning zone
ALLAN HOLDSWORTH
TRACKs 73-90
Example 1 Wide intervals and chromatic ideas over shifting major tonalities
cd track 73
We begin with some of Allan’s signature wide stretches. You can really see wide intervals, the preceding line is much more compact and features a why players such as Eddie Van Halen thought he was using tapping before combination of scale-wise motion (Ab Lydian for Ab/Gb, B Lydian for C#/B: R-2GUITAR TECHNIQUES MAGAZINE 5 0 wear the guitar medium The John Wheatcroft Jazz they could see him in action. It will help if2you to 3-#4-5-6-7), withcolumn some chromatic decoration for good measure. Look out for GUITAR TECHNIQUES MAGAZINE 50 HOLDSWORTH STYLE The John Wheatcroft Jazz column high on your chest and keep your thumb2behind the neck for theALAN stretch, the busy 16th-note based legato phrasing in bars 4 and 5: break it into 8-note ALAN HOLDSWORTH approximately in line with the second finger. In contrast to these opening groupings atSTYLE a slow tempo to learn it quickly. Ex 1 Ex 1
Wide intervals and chromatic ideas over shifting major tonalities Wide intervals and chromatic ideas over shifting major tonalities D/C D/C j GUITAR TECHNIQUES MAGAZINE 2 5 0 # œ The John Wheatcroft Jazz column j GUITAR TECHNIQUES MAGAZINE 2 5 0 # œ ALAN HOLDSWORTH STYLE The John Wheatcroft Jazz column
©»¡™∞ 4©»¡™∞ & 4 ÓÓ &4
Ex 1 Ex 1 E B E G B D G A D E A E
E B E G B D G A D E A E
E B E G B D G A D E A E
1 1
1 1
4 4
Œ Œ
œ ~~~ œ. œJ~~~ œ . J
‰ ‰
œ # œ œ œ œœ œJ # œ œ œ ALAN JHOLDSWORTH STYLE 3 3
Wide intervals and chromatic ideas over shifting major tonalities Wide intervals and chromatic ideas over shifting major tonalities D/C D/C 7j 8 10 7 # œ7j 8 10 7
©»¡™∞ 4©»¡™∞ & 4 ÓÓ &4 b b
√AA b/G/G b™ b¢œ √ ¡œ b œ™ b¢œ & ¡œ b œ & √ √ & &
b b b b ¢ bœ ¡œ b ™œ™ b ¢œ ¡œ b œ
Œ Œ
‰ ‰
#œ
~~~ ~~~ œ ~~~ œ . œJ œ . J
~~~~ ~~~~ ˙ ~~~~ ˙
œ # œ œ œ œœ œJ # œ œ œ J 8 8
10 10
~~~~ ˙ ~~~~ ˙
12 12
3 3
™ b ¡¡œ bb œœ™ bœ bœ bœ
Œ Œ
¡ b ¡œ
Œ Œ
¡ b ¡œ
b ™™œ
™ ¡ ™ b ™œ bb13¡œœ bb16œœ™ b1313œ b1616œ 13 16
~~~~ CC ##/B/B ~~~ Loco ~~~~ ~~~ 8 10 7 8 10 12 Loco œ b œ b œ œ b œ œ œ œ b œ b œ œ b œ b œ œ8œ œ b œ œ b œ 10œ b œ b7 œ 8 10œ œ 12œ n œ b œ œ œ n œ œœ # œ . œ # œ . œ . 13 16 œ bœ œ bœ œ œ œ b œ œ b œ œ b œ œ n œ # œ . # œ . #13œ œ16. œ 13# œ #16œ bœ œ bœ œ bœ œ œ nœ œ #13œ 16 œ # œ # œ 3 7 7
# #
3
A /G A13/G 16 21 13 16 13 16 21 13 16
C /B C /B
Loco Loco 13 12 11 10 13 12 11 10 11 8 8 11 8 8
11 14 13 11 œ œœ b11œ bb14œœ 13œ b1414œ 1111 11œ 1414œ 1111 bb œœ œœ bb œœ œ bœ œ bœ bœ œ œ œ bœ œ
œ œ œ bœ œ b œ b œ œ b œ9 œ88 1111œœ œ88 n œ99 bb œœ88 1111œ œœ88 nn œœ99 1111œ ## œœ88 .. œ99 ##1111œœ .. # œ88 œ99 .. œ88 #11œ # œ9 b œ œ b œ9 œ œ n œ œ # œ œ œ #11œ # œ9 3 3
Ex 2 Mixing semiquavers with quintuplets E 13 16semiquavers 21 13 16 with 11 quintuplets 14 13 11 Ex 2 Mixing cd track 75 Example 2 Mixing semiquavers with quintuplets B 14 11 11 14 11 E 13 16 21 13 16 11 14 13D/C G 13here 12 we 11 see 10 8 11 8is wonderfully 9 11 8 fluid and he frequently mixes up B 14 11 14 11 While Allan does everything in his power to avoid clichéd licks, line. Holdsworth’s time-feel D/C D 9 11 8 9 8 G 13 12 11 10 11 8 8 9 8 11 8 9 8 11 8 9 11 8 A of his favourite melodic forms, employed to great effect, based 9 care one around 11 8 rhythmic8 groupings, without D 11 8 9 completely spontaneously 9 and 11 no8 doubt 9 8 11 a E A 9 be 4 a decorated maj9 arpeggio (R-3-5-7-9). We’ll see more of this shape later on, in8the9world. You might wish to use words to assist you here, so bar11 3 could
œ œ œ #œ œ œ ©»¡™∞ œ œ œ #œ œ œ ©»¡™∞ 4 ∑ ‰ JJ Œ & 4 but for now our principle∑consideration is the rhythmic component of this ‰ Œ &4 E
4
Ex 2 Ex 2
E B E G B D G A D E A E
E B E G B D G A D E A E
E B E G B D G A D E A E
E B E G B D G A D E A E
1 1
Mixing semiquavers with quintuplets Mixing semiquavers with quintuplets D/C D/C 15 15
©»¡™∞ ©»¡™∞ & 44 &4
œ œ 12œ #14œ œ œ œ œ 12œ #14œ 15œ œ 15 ‰ JJ ‰
∑ ∑
1
4 4
5
5
œ œ
œ œœ œ
13 12 13 12 14 13 12 14 13 12
œ11 œ11 12 14Œ10 9bb œœ10 œœ9 bb12œœ 11œœ 12 99œœ 11 12 12 9 12 11 12 11 12 14Œ10 9 10 3 3
3
b œ99 bb1111œœ 1313œœ œ88 b œ 11 b œ œ b13œ 12œ b11œ 10œ 11œ 1010œœ b1313œ b11œ b œ & b13œ 12œ b11œ 10œ 11œ & 3 b b
œ œ œ #œ nœ #œ œ œ œ # œ n œ #11œ 12œ œ œ #11œ 12œ œœ99 11œ 12œ 9 12 œ 11 œ œ œ 14œ 10œ # œ9 10œ œ9 12œ #11œ 12œ 11œ 12œ 12 14 10 # œ 9 10 5 5
13 12 13 12 14 13 12 14 13 12
Œ Œ
15 b12œ 14bb œœ15 œœ œ 15 b œ 12 14 b œ œ b œ œ b œ œ œ œœ b œ b œ b œ 15 & bœ œ bœ œ œ & 3 Fm/G Fm/G
5
5
Fm/G b Fm/G b
1
œ œ œ #œ nœ #œ œ œ œ #œ nœ #œ œ œ œ œœ ## œœ œœ œœ œœ œœ œ œ œ # œ rhythmically interpreted as ‘university-3e&a-university. œ œ #œ œ œ 5 5
œ88 œ
œ99 1111œœ œ
œ œ
Œ Œ
b œ99 œ88 b œ77 œ66 bœ œ bœ œ 3 3
3
13 13
12 12
11 11
10 10
11 11
10 10
13 13
11 11
9 9
11 11
13 13
8 8
8 8
9 9
11 11
9 9
8 8
7 7
œ œ
6 6
4 4
December 2015
83
lesson } JAZZ Example 3 Descending chromatic motifs
cd track 77
Allan is exceptionally good at filling in the gaps between harmonically supportive and consonant notes and the less stable dissonances that are 2 xxxxxxxxxx found nestling in the cracks between them. This is perfectly demonstrated xxxxxxxxxx by2 the five-note ‘enclosure’ in bar 4, with beat 3’s four notes encircling the Ex 3
Descending chromatic motifs
©»¡¢™ # # # # ©»¡¢™ 4 2 xxxxxxxxxx # & # # 44 2 xxxxxxxxxx # & 4
Ex 3
Ex 3
Descending chromatic motifs
Descending chromatic motifs Descending chromatic motifs
‰ ‰
∑ ∑
#### œ œ œ & # # # # ‰ œ œ Jœ ‰ ‰ J‰ &
E B G E D B A G E D A 4 E 4
# # & # ## # ## &
Ex 4
¢ 9 7 œ £ œ ¡ œ b¢11œ ™œ9 ¡ œ7 n10 ¢ œ £ œ9 ¡ œ7 b¢11œ ™œ9 ¡ œ7 n10
B m/E B m/E
E B G E D B A G E D A 1 E 1
E
‰ ‰
B m/E
©»¡¢™ # # # # ©»¡¢™ 4 & # # # # 44 & 4
Ex E 3 B G E D B A G E D A 1 E 1
¢ ¡ œ n ¢œ £ œ ¡ œ b¢œ ™œ ¡ œ n œ £ œ ¡ œ b¢œ ™œ
B m/E
∑ ∑
intended destination of A, which is in itself an early anticipation of the preceding Bm/E chord. You should go through each of these lines to determine which of the notes are intentional resolutions, and which are tensions that are still in motion.
œ7 œ œ b œ œ œ n œ œœ œ7 œ œ bœ œ œ nœ
n œ¡ n œ b œ œ œ n œ E maj 7 n œ¡ n œ b œ œ œ n œ n œ œ œ œ œ j ‰ Œ œ œ œ n œ œ œ œ œ œj œœœ ‰ Œ œœœ
n œ88¡ n12œ b11œ 10œ œ9 n12œ 10 9 E maj 7 n œ¡ n12œ b11œ 10œ œ9 n12œ n10œ œ9 œ88 œ9 11œ 6 9j ‰ Œ n œ œ œ œ9 œ œj ‰ Œ 11 œ œ6 œ9 B m/E F/G œ œ 10œ 9 œ 7n œ 9 8 œ œ œ b œ n œ n œ œ B m/E 11 œ9 8 1212œ 1111œ 1010œ n œ99 n1212œ œ10b œ9 œ œ 8b œ9œ n œ œ n œ F/G 10œ 9 œ 7n œ 11 œ 8b œ œ11n œ6 œ 9n œ œ ‰ 10 9 œ 9 ‰ 11 6 9
B m/E œ 16œ n10œ 14œ 9 12 14 œ œ B m/E œ b œ n œ œ œ œ œ 9 12 14œ 16œ n10œ 14œ ‰ œ9 œœ5 œJœ7 ‰ œ9 12œ b11œ œ9 10œ n12œ œ œ ‰ J‰ 9 5 7
9 12 11 9 10 12
Wide intervals to ascending chromatic idea 9 12
©»¡¢™ # # # # ©»¡¢™ ∑ & # # # # 444 ∑ & 4
14
16
10
14
B 9 to 5 ascending 7 9to 12chromatic 11 9 10 12 Ex 4 Wide intervals Example 4 Wide intervals ascending E maj 7 idea chromatic idea G
E 9 12 14 16 10 14 D We that clearly B begin with a completely 9 5 7‘inside’9motif 12 11 9 10 12 outlines our underlying A E maj 7 G Emaj7 tonality (E-G#-B-D#), before moving into rather more chromatic territory E D A 4 against our Bm/E. Rhythmical intent, along with the selection of an ultimate E 4
Ex 4
œœœœœ œ œ œ œ Jœ J
E maj 7
œ88 œ44 œ66 œœœ Œ 8 Ó4 Œ Ó
8 4 6 6
F/G œ œ œ n œ n13œ 12œ b11œ 13œ 12œ b11œ œ10 9 œ 12œ n10œ n13œ 12œ b11œ 13œ 12 11 10n12œ œ11n10œ F/G 12 14 œ œ b œ œ n12œ œ11n10œ œ9 Œ Ó ‰ œ Œ Ó ‰ 12 14 12 10
£
¡œ n œ # œ¢ n £ ¢ b œ œ œ ¡ n œ #œ n œ # œ you resist scrappy andnmuch œ ‰ ‰to rush,œ asœ this n œwillœsound b œ œ less ‰ œ œ œtheœ temptation œ œ œ convincing throughout. n œ # œ ‰ œ œ œ œ Jœ ‰ ‰ œœ œ œ œ n œ œ J 12 14 12 10
12 11 13 13 12 11 10 cd track 79 Bm/E 12 11 10 9 12 14 12 10 12 11 strong resolution plays in the of lines of this nature. Ensure 13 a big part 13 12 11 success 10 Bm/E 12 11 10 9
£
¢
n10¡œ n£13œ #14œ¢ 9 10 b11 œ œ œ E maj 7 11 Bm/E 8 8 8 8 10 11 j œ œ œ œ9 11œ œ9 11œ œ 11œ ‰ œ9 11œ œ œ9 11œ ‰ ‰ n œ # œ 9 10 b11œ n10¡œ n13œ #14œ œ 7 9 n10 œ œ œ œ 6 7 9 œ6 11œ œj œ8 œ9 11œ œ9 11œ œ8 11Jœ ‰ œ9 11œ œ8 œ9 11Jœ ‰ ‰ œ7 œ9 œ7 œ9 n10œ œ8 n10œ #11œ œ J J œœ œ E maj7 £ œ œ # œ œœ œ œ œ œ 10 13 14 ¡œ ¡ n œ œ¡ ¢œ n œ£ ¡ œ™ ¡œ œ E maj7 œ n œ # œ # œ n œ # œ 9 10 11 œ œ £ # œ œ # œ œ œ 8 8œ 8 10 11 œ œ ¡œ # œ¡ n œ œ¡ ¢œ n œ£ ¡ œ™11¡œ 8 œ n9œ # œ11n œ9 11 œ # œ8#11œ 9 11 8 9 11 œ7 9œ7# œ9 œ10 œ8 10œ 11# œ9 œ10 œ11œ10 Ó13 14 œ 11 œ8 #œ 6 9 11 9 11 11 9 11 9 11 7 9 10 œ œ # œ JœJ 3 œ Ó 3 3 6 73 9 3 3 3 3 3 3 3 E maj7 3 œ £ # œ œ ¡11 œ 14œ 16œ #18œ 19œ 18œ 19œ œ œ # œ œ #11œ¡ n13£œ 11œ¡ 14¢œ n13œ£ 12¡œ 13œ™ 12¡œ 12œ 16œ n15œ #14œ n13œ #14œ #16œ E maj7 17 ¡ ¡ ¡11 œ #11œ¡ n13œ 11œ 14¢œ n13œ£ 12¡œ 13œ™ 12œ 12œ 16œ n15œ #14œ n13œ #14œ #16œ 17œ 14œ 16œ 18 19 18 19œ 18œ 16œ #15œ 16œ 13œ 14œ #13œ 16œ 13œ 14œ Ó 18 16 15 œ œ 14œ #13œ 16œ 13Jœ 314œ Ó 16 13 3 3 3 3 J 3
©»¡¢™ # # # # ©»¡¢™ ∑ & # # # # 444 ∑ & 4
E B G E D B A G E D 1 A E 1
# # & # ## # ## &
E B G E D B A G E D A 5 E 5
#### & #### &
E B G E D B A G E D A 5 E 5
84
œ œj œ œ œ œ œj œ œ œ Wide intervals to ascending chromatic idea
E B G E D B A G E D 1 A E 1
Ex 4
E maj 7
Wide intervals to ascending chromatic E maj 7 idea
Bm/E
6 6
6 6
3
11 11
11 11
December 2015
13 11 13 11
14 13 12 13 14 13 12 13
12 12
12 16 15 14 13 14 16
17
12 16 15 14 13 14 16
17
3
14 16 18 19 18 14 16 18 19 18
3
19 19
18 16 15 18 16 15
3
16 13 16 13
3
3
14 13 14 13
16 13 14 16 13 14
ON THE CD
learning zone
ALLAN HOLDSWORTH
TRACKs 73-90
Example 5 Pentatonic three-notes-per-string
cd track 81
Much analysis of Holdsworth’s soloing style features one common error, the assumption of reliance upon near random repositioning of some form of wide 3 stretched geometric shape up and down in semitones or across the neck. 3 patterns do obviously occur, at best this should be viewed as a gross While Ex 5
©»¡™• # # ©»¡™• 3 & # # 43 & 4
Ex 5 3 3
Ex 5 Ex E B G E D B A G E D 1 A E 1 E B G E D B A G E D A E
Pentatonic 3 notes-per-string
1 1
E B G E D B A G E D 4 A E 4
# F #m
Pentatonic 3 notes-per-string
Phrygian Mode Pentatonic 3 notes-per-string
¡
F #m F #m
™
7 12 œ 7 12 10 œ œ œ œ 7 7 12 7 9 11 9 œ œ 7 12 œ œ 7 ∑ Œ œ9 œ9 œ7 œ7 œ9 œ7 12œ œ7 9 11œ œ7 12œ 10œ 9 œ œ 7 œ 9 œ œ œ œ œ œ7 œ9 œ œ œ ∑ Œ ¡7 œ9™ ¡œ7 12 œ9 œ9 œ Phrygian Mode ¡ ™ ¡ Phrygian Mode œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ n œ œ b œ œ œ œ œ 7œ 12œ 10œ œœ œ 7. 12 œ œ œ œ œ œ œ œ œ œ œ œ œ7 œ9 b œ7 12œ 9œ 9 œ 7 œ7 n œ 9œ b7 œ 12œ 7œ 9 œ11œ 7œ 12œ 10œ 9 œ 7. 12 7 7 12 7 9 11 9 œ œ 7 12 9 7 9
Phrygian Mode Pentatonic 3 notes-per-string
## &# & #
¢ œ ¢
Œ Œ
©»¡™• # # ©»¡™• 3 & # 43 & #4 5
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¡œœ œ œ œ œ œœ œ œ œ œ œ œ œ ¡ œ™ œ œ ¡
F m
∑ ∑
over-simplification and the reality is closer to the example seen here, based around a three-notes-per-string fingering that combines elements of B Minor (B-D-E-F#-A) and E minor Pentatonic (E-G-A-B-D) scales against an F# Phrygian tonality (F#-G-A-B-C#-D-E).
¢ œ 12 ¢
7
9
9
œ œ 12œ 10œ œ7 12œ 10œ 7 œ7 7 10œ 12œ œ7 12œ b11œ 14œ 12œ 11œ 14œ n13œ 12œ b11œ 11œ 11œ 10œ 12œ 10œ 12œ 14œ 15œ 14œ . # 10 7 10 7 œ 7 œ 7 12 œ b11œ 14œ 12œ 11œ 14œ n13œ 12œ b11œ 11œ 11œ 10 12œ 10œ 12œ 14œ 15œ 14œ . œ & # # œ œ 12œ œ œ 12œ 10œ œ7 œ œ7 10œ 12œ œ # &
Ex 6
10 7
Maj7 arpeggio pathway & four-notes-per-string scale
b b b b
E 10 7 10 7 7 7 12 11 14 11 11 10 12 14 15 14 Ex 6 Maj7 arpeggio pathway four-notes-per-string scale B 12 10 7 & four-notes-per-string 7 10 A 12/G 12 11 10 12 Slight swing 16ths& 12 cd track 83 Example 6 Maj7 arpeggio pathway scale 14 13 12 11 G E 10 7 10 7 7 7 12 11 14 11 11 10 12 14 15 14 D A /G Here we see that Maj9 pattern from Ex1 and Ex2, reinterpreted with subtle counter-clockwise so that the thumb is ready to be positioned behind the neck B 12 16ths 12 10 7 7 10 12 12 14 13 12 11 11 10 12 Slight swing A G melodic variations to fit in both G and Ab Lydian contexts (R-2-3-#4-5-6-7). and approximately behind the second finger. The wrist itself should remain E D4 A There are some wide stretches on the fifth string here, so make sure your relatively fixed to avoid injury, with most repositioning work achieved by this E fretting hand posture is prepared for this workload by turning the wrist revolution of the forearm. 4
©»¡¡º b 44 ∑ ⋲ œœ & b b b ©»¡¡º ∑ ⋲ & b b 44 Ex 6 Maj7 arpeggio pathway & four-notes-per-string scale
œ bœ œ œ œ œ b œ œ œ œ bœ bœ œ bœ œ œ œ œ œ #œ œ bœ œ œ œ œ œ œ bœ œ bœ œ œ œ œ œ œ #œ œ G b Lydian œ b/G b Ex 6 Maj7 arpeggio pathway scale Slight swing 16ths& four-notes-per-string A G b Lydian 11 13 14 13 11 13 15 16 √ 14 11 12 ©»¡¡ºswing 16ths A b/G b Slight b œ 13 11 10 10 11 12 œ œ 11 11 b b ©»¡¡º œ 13 14 13 b14œ œ œ 13œ 15œ 16œ √Ó 4 11 10 11 b œ 11 12 b ∑ ⋲ œ & b 44 œ b œ œ b œ 13 b11œ 10œ b11œ 13œ 8 13œ 10œ 11œ 10œ #11œ 12œ œ b œ œ œ œ œ œ b ∑ Ó ⋲ œ b œ œ b œ 13 œ8 13 œ œ # œ œ & b 4b G Lydian œ œ œ œ b b B /A b 11 13 14 13 11 13 15 16 √ GB bLydian 14 11 12 /A b ~~~ œ / 13 11 10 10 11 12 11 13 14 13 11 13 15 16 b œ √ 11œ 10 11 œ 14 11 12 Œ ' 13 8 13 ~~~ & bbb œ œ œ œ œ œ œ œ / 13 11 10 10 11œ 12 œ œ œ œ œ œ œ 11 10 11 œ œ œ œ œ œ 13 8 13 œ œ ' œ œ Œ œ œ &b b œ œ œ œ œ œ œ œ A b Lydian b/A b ~~~ / √ ABBb15Lydian ~~~ /'/ œb/A b 16œ 15 13 12 13 12 15 17 15 b √ 12 15 12 13 13 15 œ 16 œ '/ 15œ œ~~~ Œ & b b b œ œ 15œ 13œ 12œ 13œ 15œ 10 13 12œ 15œ 12œ 13œ 12œ 15 17 œ œ 13 œ œ œ œ œ œ 15 10œ 13 œ Œ &b b b œ œ' œ œ œ œ œ œ œ œ œ œ A Lydian ~~~ / A b15 Lydian 16 ~~~ /' 15 13 12 12 15 17 15 √ √Ó Ó
œ bœ œ bœ
E B G E D B A G E D 1 A E 1 E B G E D B A G E D A E
14 14
1 1
14
E B G E D B A G E D 4 A E 4 E B G E D B A G E D A E
114 4 14
14
'
14
16
4
13
15
13
12
13
15 15
10 10
13 13
12
15
12
13
12
15
12
13
13
12
15
17
13
15 15
4
December 2015
85
lesson } JAZZ Example 7 Outside line over F Dorian vamp
cd track 85
While we couldn’t be more F minor to begin, with a melodic figure toggling between F and Ab (root-b3), things become much more ambiguous in bar 1, 4 xxxxxxxxxx with clear evidence of major 3rds (A) and even a chromatically approached 4 xxxxxxxxxx F7b7b9 arpeggio (F-A-Cb-Eb-Gb), before returning to an even keel with Ex 7 Ex 7
Outside line over F Dorian vamp Outside line over F Dorian vamp
Ex 7 Ex 7
Outside line over F Dorian vamp Outside line over F Dorian vamp
œœ œœ œœ ©»¡¡º Slight swing 16ths ©»¡¡º Slight swing 16ths 4 xxxxxxxxxx 4 xxxxxxxxxx ŒŒ ⋲⋲ bb bb bb 44 ÓÓ & & 4
E E B B G G D A D A E E 1 1
E E B B G G D D A A E E 1 1
E E B B G G D A D A E E 3 3
Gb Lydian (Gb-Ab-Bb-C-Db-Eb-against our underlying Ab/Gb harmony. Holdsworth is clearly at home with harmonic ambiguity – in fact, he rejoices in it – and likes to combine ideas with both major and minor 3rds, along with major and flattened 7ths, as illustrated.
nœ œœ nn œœ bb œœ bb œœ œœ œ n œ œœ nn œœ œœ œœ n œ œœ œœ œ nœ JJ ⋲ JJ ⋲ ⋲ ⋲
Fm Fm
œœ 16œœ 13œœ ©»¡¡º swing 16ths 13 ©»¡¡º Slight Slight swing 16ths 13 16 13 bb bb bb 444 ÓÓ ŒŒ ⋲⋲ & & 4
œœ nn17œœ bb14œœ JJ ⋲ 17 14 ⋲
Fm Fm 15 15
nœ œ bb16œœ œœ œ n œ 13œœ nn15œœ 16œœ 1313œœ n1717œ 1515œ 1313œœ 13 16 JJ ⋲ 13 1313œ n1414œ 13 15 16 ⋲
13 17 15 13 A b/G b 13 17 15 13 17 14 16 A b/G b 13 13 15 16 bb œœ œœ nn œœ œœ nn ¡¡œœ bb œœ™™ ™™œ 1313n œ££ 1616¢¢œ n1313¡¡œ ¡ b1515œ™ œ n œ 17 14 16 13 13 15 16 n œ b œ 13 14 b œ ¡œ b œ™ œ œ œ œ n œ œ n œ 13 14 œ n œ n œ b œ b n œ b œ bœ œ nœ bœ Œ œ œ œ œœ œœ ⋲ bb œœ ⋲ œœ ⋲⋲ n œ ⋲ JJ ‰ bb & ⋲ ⋲ JJ n œ ⋲ ‰ Œ & b bb 6 3 3 3 3 6 3 3 3 3 A bb/G bb A /G bb14œœ 1313œœ nn1212œœ 14œœ nn1010¡¡œœ bb1111œœ™™ ™™11œ n12œ££ ¢¢œ n10¡¡œ ¡¡ b œ™™ œœ nn œœ nn1010œœ bb œœ99 b œ œ n œ b œ 12 œ n œ œ n10œ 10œœ b11œ œ 10œœ œ œ b œ œ 14 14 11 12 13 12 J b b1111œ 1010œ n œ99 b œ88 Œ b bb bb ⋲⋲ b1111œ ⋲⋲ 1010œJ ⋲⋲ nn œœ99 ⋲⋲ J ‰‰ 12 œ œ 13 10 11 12 10 10 œ & Œ 12 10 12 & J 6 3 3 3 6 3
3
3
Ex 8
3
3
Outside triplet phrase over dominant swing groove
E 13phrase 12 over 10 11 Ex 8 Outside triplet dominant swing dominant groove Example 8 Outside triplet phrase over swing groove E B 14 13 12 14 10 11 11 12 10
cd track 87
b 9 flattened G 11 10 11 10 and 9 8 Swing Having mentioned Holdsworth’s love of mixing majorE13 and and Ab respective), alluding to Lydian b7 (R-2-3-#4-5-6-b7) G 13 10 11 3rds 11 10 9 Mixolydian 8 b 9 10 D 12 10 10 12 11 10 9 E D 12 10 12mode11 10 9although Allan has both his own symbols and his own A 7ths, in this instance we’re dealing with a static Eb dominant 9th tonality. and (R-2-3-4-5-6-b7), A E We with a motif that utilises both raised (#) and natural 4th degrees (A descriptive nomenclature for these scales. E begin 3 Swing 14
B
3
©»¡§º ©»¡§º b b b b bb b 44 & b & 4
Ex 8 Ex 8 E B E B G D G D A A E E 1 1
E E B B G G D D A A E E 1 1
14
11 12
∑∑
E E B B G G D D A A E E 5 5
86
nn œœ bb œœ
˙˙
Outside triplet phrase over dominant swing groove Outside triplet phrase over dominant swing groove Swing Swing E 9 E 9 10 9 10 9
bb
©»¡§º ©»¡§º b b 4 b b b & & b bb 444
nn œœ bb œœ
∑∑
˙˙66
bœ bb bb bb bb nn œœ b œ œœ œœ œœ œœ bb œœ œœ bb œœ œœ œœ nn œœ & & 3 3 10 10
9 9
6 6
3 3
3
3
E B E B G D G D A A E E 5 5
10
3 3
bœ bb bb bb bb nn œœ77 b œ œœ77 1010œœ œœ88 œœ77 bb1111œœ 1010œœ bb œœ99 œœ88 œœ88 nn œœ77 & & 3 7 7
3 3
7 7
December 2015
7 7
3
7 7
10 10
8 8
3 3
7 7
11 11
10 10
3 3
9 9
8 8
8 8
nœ bœ ‰‰ n œJJ b œ
œœ
n10œ b œ9 ‰‰ n10œJJ b œ9
œœ66
10 10
˙˙ ˙˙66
9 9 ~~~~ ~~~~
~~~~ ~~~~ ~~~~ ~~~~ ~~~~ ~~~~
7 7
6 6
12 12
10 10
ŒŒ
ÓÓ
ŒŒ
3 3
6 6
œœ œ œ œ œ œ œ
œœ
œœ œ8 10œœ œ6 œ8 10 œ6
œœ88
6 6
3 3
6 œœ66 bb œœ77 œœ6 œœ66 nn1010œœ œœ88
ÓÓ
10 10
œœ bb œœ œœ œœ nn œœ œœ 3 3
6 6
8 8
9 9
3 3
6 6
6 6 ~~~~~ ~~~~~ ˙˙ .. 7 7
~~~~~ ~~~~~ ~~~~~ ~~~~~ ˙˙66 .. ~~~~~ ~~~~~
8 8
6 6
10 10
8 8
ON THE CD
learning zone
ALLAN HOLDSWORTH
TRACKs 73-90
Example 9 straight 16ths over a swing groove
cd track 89
Another Eb9 chord backing but this time some snakey 16th-note action on the top two strings (bars 4-5 especially). With harmonically varied playing like this, see what ‘inside’ and ‘outside’ notes tie in with the Eb9 chord. Most interesting! 5 5
Ex 9 Ex 9
Straight 16ths over swing groove Straight 16ths over swing groove E 9 Swing E 9 Swing
©»¡§º b bb ©»¡§º 44 b b b & &b b 4
b
b √ √ ‰‰
∑∑
~~ œœ œœ~~ ˙ ~~~ œ ¡ ~~~ ˙ ~~~ ‰ œœJ œ œ ˙~~~ ‰ œ œ ¡œœ JJ ‰ J œ ˙ ‰ œ œ ~~ ~~ ~~~ 18 15 ~~~
16 16 18
E B E G B D G A D E A E 1 1
15 16 15 16 13 13
15
¡
10 10 10 13 10 10 13 10
E B E G B D G A D E A E 5 5
9 9
10 10
9 9
9 9
8 8
11 11
8 8
™ ¡
™ ¡
8 8
8 8
7 7
7 7
¢
10 10
œ
Straight 16ths Straight 16ths
~~~ ~~~
((√ √)) ¡ ¢ ¡ b bb b b bb nn œœ n œ¡ ¢œœ œ¡ # œ œ ## œœ œ n œ œœ nn œœ œ # œ œ nn œœ œœ & n œ œ # œ œ œ n œ ¡ ™œ # œ ™œ ¡ ¢ & b ¡
£ ™ ¡ £ ™ ¡ £œ n ™œ b œ¡ £ n ™œ b œ¡ œ nœ bœ œ nœ bœ
œœ bb œœ œ n œ œ œ nœ œ
11 13 12 11 12 11 11 13 11 13 12 11 13 12 11 13 12 11 10 11 11 13 13 13 12 11 10 11
œœ ¡ ¡
6 6
œœ 6 6
œœ ..
œœ œ œ œ œ
9 9
8 8
6 6
ŒŒ
ÓÓ
8 8
Subscribe to the digital edition of Guitar Techniques and get your first 2 issues completely FREE! Instant digital access All styles and abilities from intermediate to advanced ● Lessons from world class players, all clearly explained ● iPad version includes moving tab perfectly synched to top-quality audio for every lesson ● Full tracks transcribed, the world’s best tuition guaranteed ●
●
GET YOUR FIRST 2 ISSUES FREE! http://myfavm.ag/GTDigital
December 2015
87
