Chords and harmony: Difference between revisions
From Allan Holdsworth Information Center
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==[[Allan Holdsworth (steveadelson.com 2000)]]== | ==[[Allan Holdsworth (steveadelson.com 2000)]]== | ||
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Do you still play chords by striking the notes simultaneously using the fleshy part of all four fingers?
Yes, unless I need to do what I call “scrubbing,” or running the pick across the strings so it is sequential rather than one event. But when playing chords I like to hear all of the notes at the same time, unless the composition calls for something else.
Have you ever experimented with fingerpicking?
No, I’ve never developed any kind of skill with that. It’s funny, now that you mention it, I don’t think I ever thought about doing that. I hear chords moving like they would on a piano rather than something where you go from one string to another, like on a banjo, where basically you arpeggiate everything. | Do you still play chords by striking the notes simultaneously using the fleshy part of all four fingers?
Yes, unless I need to do what I call “scrubbing,” or running the pick across the strings so it is sequential rather than one event. But when playing chords I like to hear all of the notes at the same time, unless the composition calls for something else.
Have you ever experimented with fingerpicking?
No, I’ve never developed any kind of skill with that. It’s funny, now that you mention it, I don’t think I ever thought about doing that. I hear chords moving like they would on a piano rather than something where you go from one string to another, like on a banjo, where basically you arpeggiate everything. | ||
=HARMONY= | |||
==[[Allan Holdsworth (Beat Instrumental 1979)]]== | ==[[Allan Holdsworth (Beat Instrumental 1979)]]== | ||
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==[[Allan Holdsworth (Guitar Player 1982)]]== | ==[[Allan Holdsworth (Guitar Player 1982)]]== | ||
Will you take, say, an F# chord, and experiment with various ways to spread it out? | Will you take, say, an F# chord, and experiment with various ways to spread it out?
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Yeah. I’ll just experiment with different voicings. What I usually do is just try to find the kind of voicings of particular chords that I like. Turn them around. I don’t like the sound of conventional guitar voicings. I love listening to jazz guitar; I listened to it a lot when I was younger, because my father introduced me to it. But I very quickly tired of the sound of the chord voicings. Whereas with a piano player I hear much more chordal inventiveness, not in terms of shuffling around with the chords, but with the inventiveness of voicings. I just decided that if I was going to get some chord things together that I might as well play some other voicings, instead of the kind of Jazz Book One or Jazz Book Two or Jazz Book Ten types of chords. I just searched for different voicings.
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Do you think that different voicings evoke certain types of moods? | |||
Oh, yeah. Sometimes you can use a simple chord and come up with a nice voicing. It’s all important, because it’s music. | |||
Do you ever locate chords on certain groups of strings to change their mood or impact? | Do you ever locate chords on certain groups of strings to change their mood or impact? | ||
I wouldn’t favor any particular one over any other, unless it was called for in a specific piece. Then I would. I just try to look for interesting ways to play around some simple things and make them sound like they’re not. Or the other way around: Make something simple seem much more involved. | |||
==[[Allan Holdsworth (Sound Waves 2012)]]== | ==[[Allan Holdsworth (Sound Waves 2012)]]== | ||
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[[Category:Themes]] | [[Category:Themes]][[Category:Music theory]] | ||
