Відео

Glad you enjoy it! An Amazing solo, my opinion

Thank you so much for your comment, yes he had 200 years ahead, a genius

@@richardholmes4560 thank you, agree w/you, incredible song and solo

Thank you for your message, 🙏 I took the time to learn every notes. One of my favorites solos of Allan.

Merci à toi, tout de bon pour 2024!

@@rphvitto Merci et a vous aussi 🙏

Merci Veselinka 😉

Merci beaucoup ! Très touché

Merci infiniment

Merci Alex !

Merci à vous pour le commentaire, c'est bien cela effectivement

Super!❤

Merci à vous!

Merci Karo pour ton commentaire! Je prends ça pour un compliment d'une virtuose qui fait trembler tous les pianistes de pacotilles.

Merci mon Pat! Ça fait plaisir de te lire mon ami

Monstrueux Pianiste de Génie

Quel plaisir de vous revoir merci aux cousins et pleins de gros bisous a vous deux et merci encore pour ce bon moment ❤❤

@@user-xr3mz1qi2f Merci ma Fabienne, gros bisous

Merci Stéphane

Exactly, one of the most intuitive guitarist we had on this planet

Thanks for your comment

Indeed! It's space-sounding.

@@israelcosta980 b9-3-#11-5-b13-M7 scale, the bass pushes on the fundamental while the melody avoids this note. Obviously the composite scale. IIRC, I learnt about this scale as it was on the same page of the Siron's treaty "La Partition Intérieure" as the Enigmatic scale (used by Verdi on his Avé Maria, the Yellow Jackets, Satriani) ♭9-3-♯11-♯5 -♯13-M7 which is also very interesting to harmonize. Soon after having giving a try to this scale, I listened to the Wardenclyfe Tower album, then "Oh, I heard this strange scale before!", took the guitar, and hell, it was the same scale I was toying with for about a week then. Note that the composing is by Wackerman. IDK where he found this scale, maybe in the Slonimsky's? I didn't got involved in the Thesaurus, only acquired it recently, but with the early internet, about 25y ago, I pumped a website with about 730 scales, and I'd probably need 1000+ years to fully explore all of these. You can really put up lovely chord progressions from these scales but better avoid the Triaxis' Lead2-red or the modified HM-2 or the Metal-Zone for your chords or don't be upset if your cabs seem like vomiting... Thus, if you're into extreme metal? If you do the Sweddish Chainsaw sound on this, you really feel your guitar amp is puking, LOL! From my POV, see the chords in a jazz way: the bass pushes on the T and 5th, use the keyb or guitar for chords' other notes: these are very tense scales, you need to let it breath: you stack chromatisms with M7-1-b9 and #11-5-b13, you have pretty sick power chords available if you wanna go extreme metal

Thanks you very much 🙏🙏🙏

Thank you very much for your message!

Thanks for you message, no tabs yet!

Thank you very much !

Thanks you very much !

Merci 🙂

Exactly, 5 years today, and I still can't believe it. I had the chance to meet him several times. Someone so normal and kind but when Allan played, he was connected with the cosmos.

@@rafmedde Got his autograph behind the head of my Excalibur #1 Well, I'm disgusted I couldn't keep my promise to bring him some "Mirabelle des familles" (moonlighting yellow-prune) as a "revenge" for his damn tequila. I wanted to talk amplifiers-customising, tronics and harmonisation with him, I ended drunk instead😂 Another regret: not having brought the Velvet Darkness vinyl for an autograph: the "I hate this record - Allan Holdsworth" autograph is the coolest!

Thanks!

Hello Olivier! Quel compliment merci à toi!

Great man! I Believe U!

Thank you very much!

Merci beaucoup!

Merci Fred pour le commentaire

Thank you very much for your message! Glad to know that this cover could help you! Unless I'm mistaken, Allan used a bariton guitar tuned in C on this tune. That's why he can play on the solo a low D flat and very high notes. So I transcribed all the song on a seven strings in standard tuning with the seventh string on a B. I transposed every notes of the solo and each chord. it's probably not the right way but after a hard work on and after repeat the solo non-stop I could improve my phrasing to simplify the fingering and get something more "fluid" and reliable. Always trying to getting closer of Allan's playing. Hoping to have answered your request.

@@rafmedde you are the closest I’ve heard to Allan’s tone, and I’ve seen many videos of guitarists attempt it. That’s a big achievement. Thank you for the reply, I agree he used a baritone guitar and it makes the track sound special. I don’t do alternate tunings or have a baritone guitar so it will really help me ‘steal’ your work transposing this track to standard tuning. It sounds right to me. Greetings from UK, your English is very good.

@@rafmedde concerning fluidity, imo you’ve absolutely nailed the phrasing and fingering, it’s phenomenal. It sounds exactly like Allan Holdsworth.

@@mountainman8775 thank you again for your kind message, I did my best and I'm very far away from his play because for me, there's no guitarists able to get his legato. He had the best legato of the world! A genius. "There's Allan Holdsworth and the rest of the guitarists". I'm going to transcribe an other difficult and great solo of Allan maybe soon!

@@rafmedde I can only go a few days without hearing the track ‘Zarabeth’, then I need to hear it again. Holdsworth’s harmonies are a revelation to me and it’s a spiritual thing. You really have sounded very convincing on this track, but for me the key to his legato and sound in general, from a technical standpoint is twofold: 1, the AH pull off: the guitarist has to train pull off’s in the opposite direction to normal. Very difficult at first, these ‘push offs’ eventually give the Holdsworth smooth sound, but also increase legato speed massively. Even tapping pull offs are ‘push offs’ 2, four notes per string concepts. These are the two things that prevent people technically from getting it just right, or from getting it fast enough. It’s the push offs that really take time to master. These things give that rarest guitarist a new kind of intelligence in his/her left hand. Because the fingers are so close to the string to be able to ‘push off’, the left hand speeds up even more and becomes also like a second ‘plucking hand’.

Thank you Silvio, god blessed you my friend 🙏

Merci beaucoup pour le message !

Merci Yvon pour ton message, ça fait plaisir ! Je te dis bravo pour ton site, je suis ton actu et tes vidéos sont, comme d'habitude, très intéressantes et très bien expliquées. J'en profite pour te remercier encore pour les super cours d'impro que tu me faisait travailler il y a maintenant de longues années. J'y travaille encore aujourd'hui qd je ne fais pas de relevés d"Holdsworth ! :-)

@@rafmedde c’est gentil. Comme tu dis, ça fait quelques longues années ! Je continue d’étudier le jazz avec passion, et ce site et cette chaîne UA-cam me permettent de partager cette passion avec plus de monde comme j’ai pu le faire avec toi. Bonne continuation Raf.

Ôté la Réunion ! :-) Merci pour le message !

Thanks for your message!

Allan is amazing

Thanks for your message, 100% agree with you! AH was ahead of his time, at the opposite of all guitarists! Difficult to realize that this guy played and improvised every day like this. I had the chance to see him in live several times, almost no balance, no sound check before the show. He had 200 years ahead of his time.

@@rafmedde You covered this brill. So glad i got to see Allan live six times. Nucleus 1979 Southampton. IOU a London pub 1980 IOU & Turning point 1981 ish Southanpton. Atavacron material mostly 1985 ish, Bass cleff Hackney i think. Bristol 1988 ish Southampton just 2 miles from where I live The Brooke 2007 Chad drumming on that one, if a pal of mine hadn't phoned to tell me that he was coming I'd have missed it, right in my doorstep 😮 You on the rest. Special special occasions. Never to be repeated. Unique Allan. Genius. Never be another.

@@pobinr incredible and amazing! It's unfair :-) I was 5 in 1980! Atavachron and I. O. U. tours! you saw Allan playing on his SynthAxe! OMG! I saw him just 4 times in my life, 3 times in L.A. With Jimmy Johnson on bass and Chad Wakerman and 1 time in Belgium with Ernest Tibbs on bass in 2001.

@@rafmedde IOU & Atavacron contained groundbreaking compositions. When allan appeared with the synthaxe & played Atavacron i knew I was witnessing something special & unique. And you can imagine how keenly i awaited for Atavacron to be released afterwards so i could hear the material again

@@pobinr unbelievable story! Hope you took your camera during those concerts to get a movie of those unique moments! There's not too many videos of holdsworth playing the SynthAxe on the web!

Merci à toi, je suis ton actu et je reçois régulièrement tes vidéos, c'est super, bravo ! Keep in touch!

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