Professional Documents
Culture Documents
com/articles/25693-allan-holdsworths-fretboard-wizardry
Chops: Advanced
Theory: Intermediate
Lesson Overview:
• Understand how Holdsworth approached extended harmony and cluster-style voicings.
• Learn how to use the “drop voicing” system.
• Improve your legato technique.
Click here to download a printable PDF of this lesson's notation.
Allan Holdsworth had one of the most distinctly original voices of any guitarist. While some
aspects of his music and style have been assimilated by admiring musicians, many facets
of his playing remain shrouded in mystery. Much has been written about Holdsworth’s
legato technique, speed, and tone, and many guitarists, particularly in the rock and metal
worlds, have embraced and absorbed these elements of his sound. However, Holdsworth’s
innovation extended beyond his virtuosic guitar technique. His deep harmonic language,
exemplified by his chord voicings and compositions, as well as his unique approach to
melodic improvisation, have not been so readily imitated. The speed of Holdsworth’s
1/6
single-note soloing and the density of his chord voicings pose a daunting challenge to
anyone attempting to learn his music, and with so few transcriptions available, and even
fewer accurate ones, his music has unfortunately been placed out of reach of many
aspiring musicians. In this lesson, I want to explore essential elements of Holdsworth’s
harmonic and melodic style and demystify some of his musical concepts.
A thorough analysis of Holdsworth’s playing could easily fill volumes, so the examples in
this lesson only scratch the surface of his rich musical language. Because much has
already been written about Holdsworth’s legato technique, I’ll skip discussing that in detail
in favor of looking at the notes Holdsworth played with his extraordinary chops. First, let’s
first investigate his chord voicings.
Although there are certainly some finger-busting chords in his music, most of Holdsworth’s
voicings are four-note chords that follow the “drop voicing” system. Such voicings are quite
common, not only on guitar, but also on piano and as harmony for horn sections. Before we
investigate drop voicings, look at the closed voicing in Ex. 1. Simply put, a closed voicing is
when the notes are placed as closely as possible to each other within an octave. This
Fmaj7 voicing is quite comfortable under the fingers, but most closed voicings on guitar are
extremely stretchy and often very difficult—if not impossible—to play. There are some
exceptions and that’s where Holdsworth focused.
Now let’s next take our closed Fmaj7 voicing and create
some drop voicings. There are a total of five types of drop
voicings: drop 2, drop 3, drop 2+4, drop 2+3, and drop 3,
double drop 2. Each of these are named for how they
differ from a closed voicing. For a drop 2 voicing, we start
with our closed Fmaj7 voicing and drop the second note
from the top (C) down an octave (Ex. 2). Since the 5 is
the lowest note, this creates a 2nd inversion Fmaj7.
2/6
Ex. 4 demonstrates the remaining drop voicings in root
position for Fmaj7. One note about the last voicing (drop
3, double drop 2): This name refers to dropping the third
note from the top one octave, and then dropping the
second note from the top down two octaves, hence
“double drop.” This last type is often quite stretchy on
guitar, but they also sound very unusual and were one of
Holdsworth’s favorites.
Another technique for generating Holdsworth-style voicings is to take one note of a seventh
chord and move it up or down within the key. Ex. 5 takes our familiar Fmaj7 chord and
changes it to an Fmaj13 and finally a C/F. These voicings often contain beautifully
dissonant seconds within the shape. A byproduct of this process is that many voicings
become difficult to name because not every note in a typical chord is present. The Fmaj9
chord is technically an Fmaj9(no 3), but rather than fretting about extremely precise chord
symbols for ambiguous voicings, it can be more beneficial to go with a chord symbol that
points clearly to the bigger picture of the overall tonality.
Ex. 6 is an étude written in the style of many Holdsworth compositions. There’s a mixture of
closed and drop voicings, nearly all of which involve moving notes around in the scale to
create more clustered, dissonant voicings. Holdsworth was a fan of not only using seconds
in his voicings, but also minor ninths (check out measures 6, 7, and 9). One final note
about Holdsworth’s chords: Holdsworth typically played chords fingerstyle, with his pick
3/6
held under his curled right-hand index finger. Due to the skipped strings in many voicings,
strumming these chords with a pick creates many problems with unwanted open strings, so
a fingerstyle approach is recommended.
The next few examples are essentially demonstrations of how Holdsworth organized scales
on the fretboard. Many guitarists study 3-note-per-string and even 4-note-per-string scales
in the quest to understand Holdsworth’s style, but scale patterns alone won’t unlock the
secrets to his lines. Although Holdsworth did frequently use wider stretches, he also
incorporated string skipping and position shifting to create more interesting lines. Ex. 7 is
based on the G major scale (G–A–B–C–D–E–F#) and uses a standard 3-note-per-string
pattern, but instead of simply ascending straight up the scale, every other string in the
pattern is skipped. You will notice that the notes on the 2nd string of the example begin on
D, and not E, which would be the typical note that 3-note-per-string pattern would start on.
This change was done to create symmetry with the 3-5-7 fret pattern of the 6th string.
Holdsworth frequently took advantage of guitar fretboard symmetries, and we’ll see more
examples of this in a moment.
4/6
down the fretboard with jumps of three frets. An example of Holdsworth playing a similar
lick this way can be heard in the Joe Henderson song “Isotope,” on the 1996 album None
Too Soon.
Ex. 14 is a solo étude written over the changes to our earlier chord etude (Ex. 5). I’ve
employed a variety of techniques discussed so far: string skipping, cross-string unisons,
three-note-per-string pentatonics, diminished scale sequences, and lines using shifts up
and down one string.
5/6
Click here for Ex. 14
Allan Holdsworth made a lasting impact upon the music world with his unique style of
playing and composing. His language can be difficult to decode, but with time and patience,
you can help spread his innovative ideas to new generations of musicians.
6/6