#1
Hello everyone,


Can anyone recommend some chords (or chord progressions) that have that Allan Holdsworthy, very open and synth axey, whole tone vibe to them?
#2
Transcribe some of his work. If you can't do that then I would suggest you're not really ready for his material.
R.I.P. My Signature. Lost to us in the great Signature Massacre of 2014.

Album.
Legion.
#3
Anyone else with some awesome encouragement? I'm not talking about Allan's work exactly, just some chords and sounds in the style of him.
#5
Quote by Dead Sea
Anyone else with some awesome encouragement? I'm not talking about Allan's work exactly, just some chords and sounds in the style of him.


I'm not here to ecourage you, I'm here to tell you the truth and I believe that if you can't come up with your own sounds then Holdsworth's style will probably elude you.
R.I.P. My Signature. Lost to us in the great Signature Massacre of 2014.

Album.
Legion.
#6
Just simply choose a key and work within those notes of the scale, the combinations are almost endless.

edit . alan also likes to use 4 notes per string scales, he says it opens up a new way of thinking about the fret board.
Last edited by Tempoe at Sep 28, 2012,
#7
there are YouTube lessons of eric johnson, larry carlton and ted greene showing what can be done with chords...knowing diatonic harmony to a high degree is a necessity to explore some of the possible avenues that chords (chord melody really) can take you..

its not that the chords have to be difficult to form...ted greene makes simple close voiced triads examples become very melodic...

expanding on this type of thinking into 4 note chords (1 3 5 7) and all their extensions and alterations..and the melodic possibilities increase dramatically..

it is knowing how to apply the notes in melodic steps (intervals) within the harmonic structures..

this takes time and determination..

play well

wolf
#8
^ hey wolf, long time no see.

Holdsy uses lots of very wide and very narrow intervals in his chords, that's basically the first thing to be aware of.

Secondly, he doesn't think in terms of triads as much as in terms of picking parts of a given scale - try looking at an Am chord as parts of an A dorian scale, and then picking any 3 note grouping from that scale over an A bass note.

Finally, grab "Reaching for the uncommon chord". Bit obvious as a tip but it's worth a look.