Lesson 1

inciudes powertab file and TIF pattern scans

Conventional and unconventional diatonic scale patterns

.Allans iinprovising style has been largelv centered around scales and scale configurations. The
abandonment of licks or set reflex motions is what makes his style so unique. It is so free of cliche that
ofien people wonder how does lie do that? since there is absolutelv verv litile recognizabilitv in his lines.

In the 70s his plaving was alreadv pretty out there but still less enigmatic and unpredictable than his lines
w ere in the 80 s and 90 s where his approach seemed to defv traditional guitar playing completely as he
was going for a completely non-traditional or even incomprehensible sound.

Hes been often heard saving: 1 am going for a keyboard or horn type sound.
These two instruinents are LINEA.R as opposed to guitar which is a MATRIX based instrument. To obtain
a linear sound meant for Allan to exhaust the possibilities of plaving as man~ notes on a stnng as possibic.
sometimes using four fingers in a row. NOT picking evety note, ignoring phvsical or seeminglv impossible
lingering obstaclcs and NOT practice ANY licks or ideas of others. (except for rhythrnic implications from
horn and keyboard players. This meant also creating non-traditional and unique fingerings, The logic of his
stYle is therefore not in the actual lines. the logic is in the physical approach and visualization of the
fretboard.

The thing 1 noticed about his approach after transcribing many of his solos is that his patterns are more
logica! than the traditional guitar pattems. His patterns would be more appilcable on a piano. violin or horn
of course, and the role of the guitar in any musical environment had already been traditionall~ defined. so
its just that most guitarists (inciuding me) did not start to team the instrument ARans wa~ at first.

To sum it up: unhindered bv tradition. Allan had found patterns which were logical ON A FRETBOARD.
not necessarily logica! to the car or in the context of traditional musical environrnents.

These patterns are based on the 4 diatonic scales described in his bookI~ ideo Just For The Curious:
Major. Hannonic Mi.nor. Melodie Minor and Harmonie Major. Thev are all variations of the Major Scale.
Allan has practiced these patternsjust bv themselves in all positions and shapes in one position and
anywhere over the entire fretboard.

A vast knowledge of scales. together with the abilitv to visualize two or three at the sarne time on a
fretboard are key factors to sounding Holdsworthian. (Of course 30 vears of practice helps)

The four diatonic scales:

Major 12 345 678
HarnionicMinor1 2b3 45b678
MelodicMinor1 2b345 678
Harmonie Major1 2 3 4 5 b6 7 8

Allan does not believe in modes. A scale is a scale from the lowest to highest available note on the
fretboard. undefined bv starting points. D dorian is stil! C major. Bb mxohdian is Ebmajor. C phrvgian
dominant is F harmonie minor. G# altered is A melodie niinor. B locrianbb7 is C harmonie major etc...