Guitar Player (1998) - Revision history

Per at 19:44, 28 October 2023

2023-10-28T19:44:29Z

← Older revision		Revision as of 19:44, 28 October 2023
Line 3:		Line 3:
	FEW GUITARISTS HAVE AS identifiable a sound as Allan Holdsworth. In our Dec. '82 cover story, he shared his sonic secrets.		FEW GUITARISTS HAVE AS identifiable a sound as Allan Holdsworth. In our Dec. '82 cover story, he shared his sonic secrets.

	How did you develop your wide hand stretches?		Q: How did you develop your wide hand stretches?

	Most of the time when guitarists play scales, they fret the notes consecutively. I wanted to avoid that by playing intervals that were spaced further apart. I use the same scales and chords, I'm just juggling the tones. I don't like conventional guitar voicings. I love listening to jazz guitar, for example, but I quickly tire of the chord voicings. I decided that if I was going to get some chord things together I might as well play something other than the Jazz Book One or even jazz Book Ten types of chords, listening to piano players, I heard much more inventiveness in the voicings.		AH: Most of the time when guitarists play scales, they fret the notes consecutively. I wanted to avoid that by playing intervals that were spaced further apart. I use the same scales and chords, I'm just juggling the tones. I don't like conventional guitar voicings. I love listening to jazz guitar, for example, but I quickly tire of the chord voicings. I decided that if I was going to get some chord things together I might as well play something other than the Jazz Book One or even jazz Book Ten types of chords, listening to piano players, I heard much more inventiveness in the voicings.

	Do you relate your solos to chord changes?		Q: Do you relate your solos to chord changes?

	I break a solo down to see the chord progression, find out what scales I can use, and see if I can superimpose harmony—such as a triad on top of another triad. To play something, I need to see it in my mind's eye. I don't make any rules and I don't divide the neck up. It's all one.		AH: I break a solo down to see the chord progression, find out what scales I can use, and see if I can superimpose harmony—such as a triad on top of another triad. To play something, I need to see it in my mind's eye. I don't make any rules and I don't divide the neck up. It's all one.

	How do you get your trademark legato sound?		Q: How do you get your trademark legato sound?

	I use a lot of hammers and pulls. My pull-offs aren't conventional, though. I never pull my finger sideways because when you do, you get a meowing sound. I detest that sound. I've practiced hard not to play like that. Instead of coming off sideways, my fingers drop directly on and off the strings like I'm tapping them.		AH: I use a lot of hammers and pulls. My pull-offs aren't conventional, though. I never pull my finger sideways because when you do, you get a meowing sound. I detest that sound. I've practiced hard not to play like that. Instead of coming off sideways, my fingers drop directly on and off the strings like I'm tapping them.

	Do you ever fall into slumps?		Q: Do you ever fall into slumps?

	I'm sure everyone falls into slumps where no matter how hard you try, you fall back on things you've already learned. Keep going. You have to persist, and out of sheer frustration come out the other side.		AH: I'm sure everyone falls into slumps where no matter how hard you try, you fall back on things you've already learned. Keep going. You have to persist, and out of sheer frustration come out the other side.

Per at 19:43, 28 October 2023

2023-10-28T19:43:15Z

@@ Line 1: / Line 1: @@
-Allan Holdsworth's joy of intervals.(Sessions)(Brief Article)(Interview)
+Allan Holdsworth's joy of intervals. 1 April 1998
-FEW GUITARISTS HAVE AS
+FEW GUITARISTS HAVE AS identifiable a sound as Allan Holdsworth. In our Dec. '82 cover story, he shared his sonic secrets.
-identifiable a sound as Allan Holdsworth.
+How did you develop your wide hand stretches?
-In our Dec. '82 cover story, he
+Most of the time when guitarists play scales, they fret the notes consecutively. I wanted to avoid that by playing intervals that were spaced further apart. I use the same scales and chords, I'm just juggling the tones. I don't like conventional guitar voicings. I love listening to jazz guitar, for example, but I quickly tire of the chord voicings. I decided that if I was going to get some chord things together I might as well play something other than the Jazz Book One or even jazz Book Ten types of chords, listening to piano players, I heard much more inventiveness in the voicings.
-shared his sonic secrets.
+Do you relate your solos to chord changes?
-How did you develop your wide
+I break a solo down to see the chord progression, find out what scales I can use, and see if I can superimpose harmony—such as a triad on top of another triad. To play something, I need to see it in my mind's eye. I don't make any rules and I don't divide the neck up. It's all one.
-hand stretches?
+How do you get your trademark legato sound?
-Most of the time when guitarists
+I use a lot of hammers and pulls. My pull-offs aren't conventional, though. I never pull my finger sideways because when you do, you get a meowing sound. I detest that sound. I've practiced hard not to play like that. Instead of coming off sideways, my fingers drop directly on and off the strings like I'm tapping them.
-play scales, they fret the notes
+Do you ever fall into slumps?
-consecutively I wanted to avoid that by
+I'm sure everyone falls into slumps where no matter how hard you try, you fall back on things you've already learned. Keep going. You have to persist, and out of sheer frustration come out the other side.

Per at 22:00, 21 September 2023

2023-09-21T22:00:15Z

← Older revision		Revision as of 22:00, 21 September 2023
Line 1:		Line 1:
	Allan Holdsworth's joy of intervals.(Sessions)(Brief Article)(Interview)		Allan Holdsworth's joy of intervals.(Sessions)(Brief Article)(Interview)
	~~345 words~~
	1 April 1998		1 April 1998
	~~Guitar Player~~
	~~GTRP~~
	~~p141~~
	~~ISSN: 0017-5463; Volume v32; Issue n4~~
	~~English~~
	~~Copyright 1998 Information Access Company. All rights reserved.~~
	FEW GUITARISTS HAVE AS		FEW GUITARISTS HAVE AS

Per: Created page with "Allan Holdsworth's joy of intervals.(Sessions)(Brief Article)(Interview) 345 words 1 April 1998 Guitar Player GTRP p141 ISSN: 0017-5463; Volume v32; Issue n4 English Copyright..."

2020-08-09T16:24:21Z

Created page with "Allan Holdsworth's joy of intervals.(Sessions)(Brief Article)(Interview) 345 words 1 April 1998 Guitar Player GTRP p141 ISSN: 0017-5463; Volume v32; Issue n4 English Copyright..."

New page

Allan Holdsworth's joy of intervals.(Sessions)(Brief Article)(Interview)
345 words
1 April 1998
Guitar Player
GTRP
p141
ISSN: 0017-5463; Volume v32; Issue n4
English
Copyright 1998 Information Access Company. All rights reserved.
FEW GUITARISTS HAVE AS

identifiable a sound as Allan Holdsworth.

In our Dec. '82 cover story, he

shared his sonic secrets.

How did you develop your wide

hand stretches?

Most of the time when guitarists

play scales, they fret the notes

consecutively I wanted to avoid that by

playing intervals that were spaced

further apart. I use the same scales

and chords, I'm just juggling the

tones. I don't like conventional

guitar voicings. I love listening to jazz

guitar, for example, but I quickly tire

of the chord voicings. I decided that

if I was going to get some chord

things together I might as well play

something other than the Jazz Book

One or even jazz Book Ten types of

chords, listening to piano players,

I heard much more inventiveness

in the voicings.

Do you relate your solos to chord

changes?

I break a solo down to see the

chord progression, find out what

scales I can use, and see if I can

superimpose harmony--such as a

triad on top of another triad. To

play something, I need to see it in

my mind's eye. I don't make any

rules and I don't divide the neck up.

It's all one.

How do you get your trademark

legato sound?

I use a lot of hammers and

puns. My pull-offs aren't conventional,

though. I never pull my finger

sideways, because when you do,

you get a meowing sound. I detest

that sound. I've practiced hard not

to play like that. Instead of coming

off sideways, my fingers drop

directly on and off the strings like I'm

tapping them.

Do you ever fall into slumps?

I'm sure everyone falls into

slumps where no matter how hard

you try, you fall back on things you've

already learned. Keep going. You

have to persist, and out of sheer

frustration come out the other side.