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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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. Download the latest version here. Part 2 Minor Artist Riff: To play these string skipping lines, be sure to practice at a slow tempo where you avoid hitting the string you are not playing.

I want to show you some of the […]. Once again, take care to play these lines in time and with precision. Another string skipping idea is used throughout measures where the scales used are: For other great examples of Allan playing over one chord vamps take a look at his solos in these two songs: This time I would like to talk about a component of guitar playing that has always fascinated me: I want to thank you all for reading my column, and I will hopefully see you next time, until then!

The last fast run mm.

Allan is outlining an 8 note synthetic scale, which includes both b9 and 9 — 1 b2 9 3 4 5 b6 b7. This solo is a great example for all players focusing on Rock playing in general, because it shows how much one can really do over a simple 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 holdswoeth 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.


I’m not saying that this the secret to his playing—not by any stretch of the imagination. Part 2 Hey guys!

An Allan Holdsworth-Inspired Pentatonic Run | Guitarworld

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 licsk his musical knowledge. This is one of the hardest phrases to play in the solo, but at the same time one of the most rewarding ones. Being a rock guy, I tend to apply all of my techniques to the pentatonic scale first then slowly branch out into other scales.

Notice again how he avoids the downbeat when starting a phrase. There 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.

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. It is by far the most technically challenging part and a very unique way to play up and down the pentatonic scale on one string.

The third phrase mm.


It can seem simple, but playing all the different permutations […] Diminished Possibilities: It starts on a C kicks b7 and the phrase then descends in quarter note triplets across the next two bars ending on an Eb b9. Francesco is currently part of a Metal band called Hiss of Atrocities, and has also recorded three instrumental solo projects. When you start applying this approach, you tend to cover the neck very quickly.


The second line mm. I start this lick with a four-note run on the A string with the fourth lick being the start of the three-string arpeggio. This particular line is what I would focus on the most.

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.

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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, hokdsworth on the ambiguity of the implied dominant chord.

From here it gets tricky! He ends the phrase on the b13 of the E vamp. The problem with this is that these techniques are not really suited to the pentatonic.

Notice the almost Rubato feel the phrases have, always with such a smooth and efficient execution. This will clearly demonstrate how much Allan can bring to a rather simple progression with his masterly rhythmic and harmonic vocabulary. Rather, this was what I took out of his style and approach. Allan ends this phrase in the first beat of measure 16 with a lick from hell!

Notice how Allan lets the phrase breathe with the wide open phrasing and his rhythmic control — By starting and ending the phrase on ljcks, the sense of predictability is lost.