Vintage Guitar - September 2017 - open - 62

COLUMN Fretprints
string-pad intro in "Shallow
Sea," establishing another
significant trait of Holdsworth's unique style. He
delivered a recognizable
sound with three Charvels
made by Grover Jackson
with wider, flatter ebony
f ingerboards, basswood
bodies, DiMarzio vibratos, and custom-wound
Seymour Duncan 59N or
DiMarzio bridge pickups.
He plugged into two Hartley
Thompson solidstate amps
with separate channels for
distortion and semi-clean,
and two Norlin Lab series L5
amps (clean) and cabinets
fitted with Goodman GP-12
speakers.
Holdsworth's 1983 album, Road Games, and
1985's Metal Fatigue included "Three Sheets to the
Wind," "Tokyo Dream,"
"Devil Take the Hindmost,"
and "Home," before his
first experiments with the
SynthAxe on Atavachron
('86). This landmark release
introduced the MIDI controller to a receptive audience and led to extensive use
throughout his career. It was
heard prominently on Sand
('87), Wardenclyffe Tower
('92) and especially his final
studio recording, the synthdominated Flat Iron: Music
for a Non-Existent Movie
(2001), where Allan is the
only instrumentalist apart
from bassist David Carpenter, who played on two
tracks. The SynthAxe was
suited to Allan's orchestral
inclinations and search for
new ways to manifest his
un-guitaristic improvisations. He continued to make
astounding albums in the
ensuing decades, varying
his uncompromising approach to convey a hardershredding edge in Heavy
Machinery ('97) with the
Johansson brothers, express
a reverence for jazz heroes
Coltrane, Reinhardt, Joe

This evocative Holdsworth phrase from
"Where is One" presents a definitive example
of his chordal and single-note improvisation
in a tidy package. He colors the chords with
delay/chorus processing and attacks them
pianistically, using hybrid picking. Note the
extended and enriched harmonic sounds
throughout. He consistently favors major-add2
cluster voicings (Fadd2, Dadd2 and Ebadd2)
with wide intervals (fifths) and close intervals
(seconds) requiring that famed Holdsworth
stretch. He alternates with dissonant modern jazz-oriented sonorities (Ebadd2#11 and

VINTAGE GUITAR

62

Dmaj7#11) and an A7 altered chord built on
fourths. In measure 3, he decorates contrasting triad forms with swoops and vibrato via
the whammy bar. The single-note passage in
measures 7-8 is a typically careening melodic
ride, played in an open tonality with chromaticism, dissonance, and trademark legato
phrasing. Note the sequential neighbor tone/
interval leaping patterns in 8 (beat 1) which are
characteristic expressions of his wide-interval
and chromatic combination. The line closes
with Allan's landing on a C minor pentatonic
melody to anticipate his next chord, C11.

September 2017



Vintage Guitar - September 2017 - open

Table of Contents for the Digital Edition of Vintage Guitar - September 2017 - open

Contents
Vintage Guitar - September 2017 - open - Cover
Vintage Guitar - September 2017 - open - IFC
Vintage Guitar - September 2017 - open - 3
Vintage Guitar - September 2017 - open - 4
Vintage Guitar - September 2017 - open - 5
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Vintage Guitar - September 2017 - open - Contents
Vintage Guitar - September 2017 - open - 11
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