Allan Holdsworth had one of the most distinctly original voices of any Much has been written about Holdsworth’s legato technique, speed. Watching Allan Holdsworth perform may leave you with the approach, coupled with a saxophone-smooth legato technique, paved the way for. Allan Holdsworth Extreme LegatoPart One and Part Two q = ° # & œ œnœ œ œ #œ œ œnœ œ œ #œ œ œnœ œ œ#œ œ.

Author: Satilar Zuk
Country: Cayman Islands
Language: English (Spanish)
Genre: Education
Published (Last): 10 August 2011
Pages: 11
PDF File Size: 17.69 Mb
ePub File Size: 17.10 Mb
ISBN: 516-4-78916-559-1
Downloads: 29260
Price: Free* [*Free Regsitration Required]
Uploader: Maugar

For example, you can put all four fingers on a single string and pull off without using your right hand at all.

MusicRadar

Oct 9, 1. He’s really aiming for a more violin or wind instrument style single note attack. In the first example you will see a slur added between the first and second notes on each string.

Legaato first digging into a new four-note-per-string scale, such as the F major scale below, you will need to figure out the notes on the scale and build your fingering up from there.

He’s well known for using four fingers for string, and I’ve heard many times that he doesn’t use normal pull-off, preferring instead hammer-ons from nowhere. The concept is the same as when you added one slur, use hammers on the way up and pull-offs on the way down to complete the exercise.

Allan Holdsworth’s Four-Note-Per-String Scales | Guitarworld

The hammer-on from nowhere is a non-starter on acoustic due to the racket created between the lower finger and the nut, at least for me. Add legat from the legati if you have one and use a delicate touch. A jazz guitarist without an f-hole, headstock or blues lick. Go with what works for you and the hands you possess. You also can add two slurs to the back holdswrth of each string but placing a slur between the second, third and fourth notes on each string in the scale. Again, if you are using the fingering for each string, then you could do a hammer plus a slide going up and a pull-off plus a slide going down to achieve the same effect.

  BYW98 200 PDF

Oct 9, 5. Depending on how many frets you have, you may be able to get it up to the key of C, if you have 24 or Bb if you have Please share your thoughts in the comment section below. Yes, my yoldsworth is: Oct 9, Gain is not maxed out, and he has enormous hands capable of tremendous reach for lines, for chords.

Every note is in D Melodic Minor, but the three-note cell leaps around the fretboard. If you are using the fingering instead ofyou can use a slide between the first two notes so that the slur becomes a slide plus a hammer on the way up and a slide plus a pull-off on the way down.

Do you already have an account?

about Allan Holdsworth and his legato technique

Oct 9, 2. The best way to see if you have really learned a new concept is to take it out and make some music with it. A laid-back conversational persona, with the unlaziest attitude imaginable to the development of theory, improvisation, rhythm and technique.

This wide interval approach avoid octaves and triadic forms is typical of holdswodth style. How to play in a modern style and how to break out of box patterns.

In bar 1, a three-note phrase is transposed down chromatically. Since there are more slides than picks, many players tend to lose focus on the time and rhythm with this leato. At that time, he used very, very light strings. Share This Page Tweet.

Holdsworyh Miss Classic interview: These scales are used as the basis of all his ideas, so we will do the same here, but using the conventional holdssworth system for convenience. It’s an aggressive fretting hand approach he doesn’t like the sound of pull-offsmore a lifting off technique. Oct 9, 9. Usually Holdsworth avoided chords that were built conventionally in 3rds. The following example uses a couple of his devices known as side-stepping and constant structure.

  GONZALEZ DE CARDEDAL PDF

Again, use a hammer going up the scale and a pull-off on the way back down. From there you can start identifying “mathematical patterns” which lend themselves to long, legato lines. Check out four-note-per-string scales. This type of legato approach is indicative of the Holdsworth style, so if you are going for that sound, this is a variation that you will want to check out and get under your fingers.

Your name or email address: A pub musician light years from Mustang Sally.

Do you use four-note-per-string scales in your playing or have a favorite way to practice them in the woodshed? I’ve never been sure about what he does, especially when he’s playing descending notes in legato. The start and end notes in each phrase are all in D Melodic Minor. I have definitely stole a few. Not content with what was possible with one fretting hand, Holdsworth occasionally added notes to chords using a tap from his fretting hand creating ultra-wide voicing as in the final bar here.

I often get asked about two topics: Used by modern players such as Allan Holdsworthwhose playing inspired me to check out these fingerings, four-note-per-string scales can help bring a more modern flavor to your lines, expand your knowledge of the neck and allow you to cover a large amount of fretboard real estate with just one scale shape, all of which are beneficial to players looking to explore non-traditional scale fingerings in their playing.

about Allan Holdsworth and his legato technique | The Gear Page

Neer and Jason Holdswortj like this. I mean he had an. An enviable technique always in the service of expressive, egoless music. Search Media New Media. The Gear Page is run by musicians for musicians.

Medical