Holds Worth Video Guide

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ALLAN HOLDSWORTH

Executive Producer RogerHutchinson

Produced and Directed by Don MockMusical Examples and Music Editing by Kenn Chipkin

Songs Transcribed by Hemme Luttjeboer

Music Engraving by John Albaugh

WARNING

This book and/or the accompanying videoprogram

maynot

be reproduced in whole or inpart

by any means whatsoever, without written permission from the Publisher.

Copyright @ 1992 CPP Media Group

A division of CPPEelwin, Inc., P.O. Box 4340 Miami, FL 33014

Intemational Copyright Secured All Rights Reserved

Introduction

I cannot tell you that anything I think or do is right, wrong or has any realvalue at all. I do not think of myself as a teacher by any stretch of the imagination.However, the way I taught myself has somehow workedfor me. The main reason

for this is, that when you find something out for yourself, it is understood on a deeperlevel than handed-down information; at least it was for me. Anyway, enough of that.

The rest of this is really just for the curious.

- Allan Holdsworth



Proto CosmosntroModerately Rlf A

)lzo * rf,nilsus tsm/sus DnrTsus

* Chords derivedfrom kybd. & bass gtr. parts

(Play 4 times)

Ft'mTsus EmTsus DmTsus

Proto Cosmos

--{il../rus EnJsus

Guitar Solo



Proto Cosmos

AmajT(#11)

Ff;maj 7 ; trm/ sus

B,o --Ffnilsus EnJsus Dnr7sus

^



Proto Cosmos

cfime

.--I_-' r*<d __J t_i

AmajT(#11)



xlrd_ _(,- 1F-ln /

Ioto

Ffirr7sus EnJsus Dn7sus

:il---)\

l\j ,

r0

=-?ffi33

Proto Cosmos



Proto Cosmos

Crnl.i 7

-

.aa?a+,

'-

-...-T-zlfflnr.rj i r, mi sus

T'F h

l-l



Proto Cosmos

Amaj 7(#1 l)

33



Proto Cosmos

#f---:J



Proto Cosmosffu"- -

-1^]-\b'.tr];

3r riJ I

Proto CosmosBro-- ----,

AmajT(#l l)

t12



Gmaj 7

Cosmos

-\

To Riff A.then to Keyboard Solo

Proto Cosmos

FflmTsus EmTsus DnJsus

FfinJsus EnJsus Amaj 7



Proto CosmosU4

(HalJ time J'eel)Ff,nJsus GflmTsus

Lesson 1

Allan's 10 Most Useful Scales

I think of scales as "sound families" (chords are just parts of them). I see a scale family from the lowestavailable note to the highest available note on the instrument.

A name is only a means of identification and communication, but in my case, identification only. I do not

think of a scale as having abeginning oran end, abottom ora top - just a sound. The name I give is foridentifi-cation only and not for signifying any particular root. I do not give a seven note scale seven different names.

However, it is very important to hear and remember how each scale "sounds" starting from each and everyone of these individual notes. I feel harmony should be mobile, so as chord sequences go by, try to hear these as

whole "sound families" moving, instead of the four or five notes of a particular chord.

SCALE CHARTSRemember, I name scales from the closest minor (as I explained before). That does not mean that you

have to do the same.

L C major / D minor / G7 6. B flat major add -6

2. D minor +7 (D melodic) 7 . C dominant 7 add +7

3. A minor +7 -6 (A harmonic) 8. B minor add +7

4. A minor +7 +4 9. A minor +7 add -6

5. A flat diminished 10. Symmetrical - 2 half steps and I whole step

The whole tone scale is useful as well. There areonly two.

Startfrom

Fand make your own chart.

* pull up on bar and release

ZJ



SCALE 1

C Major

D Minor

G7 Dominant

Example 2 Freely (AcceIerando)

1

2

3

4

5

6

u

aJ U 1 - f-rl\i

A

25



SCALE 2

D Minor +7(D Melodic Minor)

SCALE 3

A Minor +7 -6

(A Harmonic Minor)



SCALE 4

A Minor +7 +4

(ExanQle 3 is deritedfrutn E minor +7 +4 - E F# G A# B C# D#)

#4

1

2

3

4

5

6

29



SCALE 5

G#/Ab Diminished

B Diminished

D DiminishedF Diminished

Example 4

aJfiJ'tll

6a

A

JI

u

'-\t - - Tl



SCALE 6

Bb Major (Jazz)

SCALE 7

C DominanlT (Jazz)

-

tt

-v



SCALE 8

B Minor (Jazz)

SCALE 9

A Minor +7 add -6



SCALE 10

Symmetrical1 l2-1 l2-1 -1 l2-1 l2-1 etc.

1

2

3

4

5

6

Moderately fast

The Things You See

t-Ehmaj I

Fmaj 7 pttrT+5(P

h,tld

x Chord names derivedft'om bass guitar mot'emenl

)t



The Things You See

Ffim7+5 cadd9 Aadd9l Ffim7+S G add9 Aadd9

The Things You See

o r,+-' +'ti+f,r' u frT '\r-*1 1qfic

+T qf_T

A

6-7+5 Abadd9



The Thines You See

The Things You See



The Things You See

Cfmaj 7

Lttmaj /

Cadd4 Abmaj 7 Abm /b)

Emaj 7 Fmaj 7

The Things You See

DF/E

Ffimaj 7

p#l I

o frfle hold hold - nota

T

A



The Things You See

Db9sus

The Things You See

Aml36 n669(#l l)

Cmaj7(#l l)Fadd9



The Things You See

Bbadd9 Bml I G7M

Gfima;7+5

O LJ-I-J L_t,L I I

hold ---------

J-O

hold

A

4t)

The Things you Seero Coda $

Freely



The Things You See

a) *p l nf p-==-__nf P--=----nf pPnf

A

* ltctlunte su'ells achievetl u ith t,olunte pedal

P

-

nf pF nf

The Things You See

Keybd. Solo

Dbmaj 7Dbml AhnT

. a

-

d

T

49

The Things



You See

Am(maj7.1

Guirar Solo A*nai7

Ffmal 7 Emaj9(#11)

The Things You See

-l \" / / 7------7- /)taa

AJ

-T-_-B_-

,L

r t- \

+t\_L++F]_

-E=

#+€

4E



The Things You See

Fflmaj 7

Emaj9(#l l)

F

^"i7(#ll\.al

lll- -\ (?

The Things You See

The Things You See



Bro-- ----- lDbmajT loco

* Pull up rtn bar I 12 step

1./2, .t/?1/2'--^,-\;, .../

The Things You See



Bro

The Things You See

Abmail

7--'

The Things You See



Bro- -obma:1 rZ-', /:\ "Y-- -;

The Things You See

Am(maj7)

1/2 11/2 1t2

3

Flmall

The



Things You See

Br^ The Things You See

3 wlbar .,,

Dbmaj 7

112

_112 1p. 1/2

The Things You See



$r"- -

Fflmaj 7 The Things You See

+tll

Emaj9(#1 I )

j {i l) :Ti+ , z':-e ,----,

Am(maj7)

1/4 1t2

The Things You See



Emaj9(#11)

The Things You See

DbmajT

3 L3,J 3 3

The Things You See



,i,!+ffit a.

t llq?tAm(maj7;

fEfE

The Things you See

1/2

EmajT(#11)

The Things You See



EbmaiT

Coda $

The Things You See

D.S. al Coda $

bmal /

tt_-.-!-14

o (b)o ,o

The Things You See



Am(maj7.1

70

T-3 ,*l

Ffmaj 7

The Things You See

ir Emaj9(#11)

AJVA' -+--+7)+J'

hold ---- hold -- --

rl

H{a)

hold - / | '

The Things You See



FreelY|2. r,nuie,*ttt

g-7+5

ACmajT(#11)

Lesson 2



Chord Scaleswhen I first started to play, I would see scales written in a book showing, for example, how to play over an

altered dominant chord, and on the next page another scale to use on an altered minor chord. Because at that time I wasthinking more in positions, I would practice them without realizing I was really just playing the same scale starting on a

different note. I would also see a chord shape, and then on the next page, the same shape with another name. I realizedthen that guitar chords generally only contain four different notes. This makes the nu.ing and clarifying of chords onguitar a little more ambiguous. So it seemed to me, because of the very nature of the guitar, I could view this verydifferently, more from an overall picture.

Example 6 _

Example 7

15



76

Example 9



Example l0

Example 11 Freely



80

Scalesl-5withChords

The following five scale diagrams demonstrate how I derive chordvoicings from the scale charts. I first find a chord voicing I like using notes

from the scale and then "harmonize" it by simply moving the voicings up tothe next set of notes in the scale. By continuing this process we end up withseven voicings all relating to the first chord and scale family. I've given you

a chord - scale example for each of the first five scale charts.

81

SCALE 1 (with chords)

C Major



D Minor

G7 Dominant

1

2

3

4

5

6


D Minor +7(D Melodic Minor)

1

2

34

5

6


A Minor +7 -6



(A Harmonic Minor)

1

2

3

45

6


A Minor +7 +4

1

2

34

5

6


G#/Ab Diminished



B Diminished

D Diminished

F Diminished

I try to pay anenfion to detail but detail is something that unfortunately cannot be

accomplishedfor me in this medium. It is not possible to compress a lifu's love,

learnings, musical desires and dreams into afew moments for all to see, hear and

understand.

,dtu@,ffi

1

2

3

45

6

8'l

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