Excellent lesson of the difficult but beautiful chords of the Maestro . Thank you for your contribution to keep Allan's legacy alive !!! As a side note: everybody talks of his enormous hands but this is a myth IMHO, and incorrect. After his gig in Boca Raton, Florida on Saturday 21november 2015 with Virgil Donati and Jimmy Haslip - great concert by the way- I walked to the street corner bar for a drink and...there was Allan having a pint. I join him at the table and invited him another beer and asked to autograph my telecaster that brought with me for that purpose. As we all know he was very kind and humble and did it for me. During our conversation I asked another big favor...if he would let me trace on a sheet of white paper his left hand. He was very amused by my idea and we had a good laugh ....he said nobody ever asked him that !! I asked him to spread the 5 fingers on the sheet then he kindly let me trace each with a black sharpy. And signed too !! When I got home that night I lay my left hand on Allan's and mine fitted just right. I don't have big hands just normal. I can not do the stretching as you do on your video lesson. I believe Allan can stretch his hands on the fretboard like he does because of years and years of practicing and playing. This might be the only tracing of his left hand in existence. After the Encore "Letters of Marque" he did apologize to the audience for his playing as he often did. King Holdsworth's music is of the highest order and impossible to duplicate. it changed my life. His music and contribution to the world will be studied for generations into the future. He was way ahead of his time and unfortunately was not supported or understood by the "music industry". There will never be another Allan...
Thank you for sharing you experience. I saw Allan perform live a couple of times, but never been close enough to reflect on the size of his hands. I think that most people can develop the possibility to play these kind of chords. And if we as guitarist want to play these kind of chords that more common and easy to play on the piano, there is not always an alternative way than having to stretch our fingers. As soon you want to play any chord that have two notes a semi note apart it gonna be some kind of stretch. Allan chords often contains close intervals more than once within the chords and it gets a bit trickier 😂 Best regards, David
Beautifull really learnt alot here as a learning piano player. One question Are you taking the initial shape and harmonizing it in the 2 5 1 through the major scale or are you taking the same pattern and transposing it on 5 and 1
Hi. Thank you for commenting. It is not exactly that. The way I make use of these shapes in these examples have more to do with connecting the voices of the chord to the next trying to keep the shapes pretty close to the initial shape and the sound of the initial chord. If it was simple harmonizing it would be more like taking the initial shape and moving it from one place to another, let say from the root position of the II chord to the root position of the V chord, but changing a note or two to make it fit. But doing that usually results in bad voice leading and that is probably not how we would want to connect the chords in a chord progression in a song. For example: Instead of playing every chord with the third as the highest note might not result in the smoothest connection (that would be the note F for the Dm7 chord, B for the G7 chord and E for the Cmaj7 chord). Instead you could play the notes A, B and C (A is the fifth of the Dm7 chord, B is the third of G7 and C is the root of the Cmaj7 chord). And then trying to implementing the same thinking (finding notes that is can rest, move up or down in half steps or whole steps) for all voices in the chord shape. This is usually more easy to do on the piano (pianists are usually much better than guitarist when it comes to voice-leading), because of the fingering of the instrument. So it’s definitely something that we all have to work on for our entire life. In some cases I use an alternative to the the most common scales. For example I might choose notes from the altered scale to voice the V chord (G altered over the G7 chord) or, as I do in one of the examples, using the Lydian scale to voice the I chord (C Lydian for Cmaj7). But in general all the notes from the chords can be found within the C major scale. Best regards. David
Excellent lesson of the difficult but beautiful chords of the Maestro . Thank you for your contribution to keep Allan's legacy alive !!!
As a side note: everybody talks of his enormous hands but this is a myth IMHO, and incorrect.
After his gig in Boca Raton, Florida on Saturday 21november 2015 with Virgil Donati and Jimmy Haslip - great concert by the way- I walked to the street corner bar for a drink and...there was Allan having a pint.
I join him at the table and invited him another beer and asked to autograph my telecaster that brought with me for that purpose.
As we all know he was very kind and humble and did it for me.
During our conversation I asked another big favor...if he would let me trace on a sheet of white paper his left hand.
He was very amused by my idea and we had a good laugh ....he said nobody ever asked him that !!
I asked him to spread the 5 fingers on the sheet then he kindly let me trace each with a black sharpy.
And signed too !!
When I got home that night I lay my left hand on Allan's and mine fitted just right.
I don't have big hands just normal.
I can not do the stretching as you do on your video lesson.
I believe Allan can stretch his hands on the fretboard like he does because of years and years of practicing and playing.
This might be the only tracing of his left hand in existence.
After the Encore "Letters of Marque" he did apologize to the audience for his playing as he often did.
King Holdsworth's music is of the highest order and impossible to duplicate. it changed my life.
His music and contribution to the world will be studied for generations into the future.
He was way ahead of his time and unfortunately was not supported or understood by the "music industry".
There will never be another Allan...
Thank you for sharing you experience. I saw Allan perform live a couple of times, but never been close enough to reflect on the size of his hands. I think that most people can develop the possibility to play these kind of chords. And if we as guitarist want to play these kind of chords that more common and easy to play on the piano, there is not always an alternative way than having to stretch our fingers. As soon you want to play any chord that have two notes a semi note apart it gonna be some kind of stretch. Allan chords often contains close intervals more than once within the chords and it gets a bit trickier 😂
Best regards,
David
Great lesson ! It was very helpful to see you teach AND put the chords in context using chord cycles . Thank you
Thank you Shon. Happy to hear. Have a great day.
Regards,
David
Thank you so much. a very helpful lesson!
Thank you. Have a great day.
/David
Great lesson! Thank you 😊 I really appreciate your work.
Greetings from Germany ✌🎶
Thank you. Happy to hear. Have a great day.
Best regards,
David (from Sweden 😀)
An underrated channel. Great video mate.
Thank you, Antek. I will hopefully have time to put up some new stuff soon.
Awesome lesson. This needs more views
Very inspiring ! Cheers from Montreal ✌🏻
great video thank u 💜
Thank you. Have a great day. ☀️
13:58
Beautifull really learnt alot here as a learning piano player. One question Are you taking the initial shape and harmonizing it in the 2 5 1 through the major scale or are you taking the same pattern and transposing it on 5 and 1
Hi. Thank you for commenting. It is not exactly that. The way I make use of these shapes in these examples have more to do with connecting the voices of the chord to the next trying to keep the shapes pretty close to the initial shape and the sound of the initial chord. If it was simple harmonizing it would be more like taking the initial shape and moving it from one place to another, let say from the root position of the II chord to the root position of the V chord, but changing a note or two to make it fit. But doing that usually results in bad voice leading and that is probably not how we would want to connect the chords in a chord progression in a song. For example: Instead of playing every chord with the third as the highest note might not result in the smoothest connection (that would be the note F for the Dm7 chord, B for the G7 chord and E for the Cmaj7 chord). Instead you could play the notes A, B and C (A is the fifth of the Dm7 chord, B is the third of G7 and C is the root of the Cmaj7 chord). And then trying to implementing the same thinking (finding notes that is can rest, move up or down in half steps or whole steps) for all voices in the chord shape. This is usually more easy to do on the piano (pianists are usually much better than guitarist when it comes to voice-leading), because of the fingering of the instrument. So it’s definitely something that we all have to work on for our entire life.
In some cases I use an alternative to the the most common scales. For example I might choose notes from the altered scale to voice the V chord (G altered over the G7 chord) or, as I do in one of the examples, using the Lydian scale to voice the I chord (C Lydian for Cmaj7). But in general all the notes from the chords can be found within the C major scale.
Best regards.
David
That's a generous and very informative response David Thank you very much :)
!!!sensacional
Thank you. Have a great day.
Best regards,
David
For the people that have problems reaching for the uncommon chord, just buy a short scale guitar.