In a career of impossibly brilliant solos, this might be my very favorite one and I've heard nearly all of them. Kudos for the metrical phrasing in the transcription. Holdsworth wasn't an avant prog odd meter freak, but he never played straight up-and-down time, either. Dripping with soul and emotion over all those abstruse chords.
Thank you for a wonderful transcription! So much to say about this amazing genius. The Master, Allan Holdsworth. I was lucky enough to witness his performance live twice in NYC's famous, but now closed, Bottom Line (right across the street from NYU). The band line up was: Wackerman, Johnson and Pasqua so, this was the early 1980's. Post Jeff Berlin and in between "Road Games " and Metal Fatigue." I was just blown away by the sheer amount of musicianship that was happening onstage. I will never forget him and I still listen to his music every day. He is now of the ages. RIP Allan Holdsworth.
There's something so mysterious about his playing on this tune. Allan always hit notes and played lines that seemed to pull me in an undiscovered emotional place musically. He searched for undiscovered phrases and the takeaway was always something so perplexing and emotionally complex. Almost like I'm not quite sure how to feel his playing sometimes, but the more I listen over and over again I begin to really hear something truly interesting and rich.
wonderful job on a very challenging bit of composition. Each time I heard Allan perform, it was as if he had found a whole other set of expressive traits to embody his solos. Truly the genius of our lives.
One of the things that makes Allan great is that he made Prog Jazz songs which not many Jazz musicians have done. This one has different time signature changes and I really didn't notice really until I saw this. Its amasing how some songs sound like they don't have "odd" time signatures and time signatures changes and flow nicely. Some songs you can tell that they have multiple different time signatures though.
This is so strange yet I think I am starting to get him.. I like a lot of stuff but I love the blues and rock do its seemed too out there to me, somehow I even like watching music I don't like sometimes, and commenting you learn stuff, this is crazy though, I played for thirty five years and am just like... wth lol
I love how this has the chords as well so I coukd come up with my own improv soloing ideas and stuff and mabey even cover it. I bet the into melody would not be hard to figure out by ear.
Yeah, cool phrasing in the tune-writing! Though the changes between 3/4 and 5/4 can be heard as just that, too -- a cool phrasing thing wherein both bars are still 4/4 but the chord change/accent simply happens on the 4th beat, as opposed to changes in meter. (This is getting into semantics, though, and it doesn't really matter either way lol)
@@GeoffLiMusic Yeah, the hypermeter is likely 4/4 but the chord changes justify localizing them with time sig shifts. Phrasing is always the most important thing.
Hi Geoff great transcription ! Is it possible you have a PDF of this ? I am studying some of Allan's solos and thus would help me to have it on paper where I can take/ make some notes for myself. Please advise and thanks in advance.
Well, you probably got most of the notes right. But you copped out when you have these groups of 31 notes to measure without actually figuring out how he’s breaking it up. So your rhythmic notation is pretty shotty. Also, without understanding how the place is the notes on the strings, it doesn’t really have much meaning to any other guitar player except for is a way of understanding his no choice. So he did a good job in getting the notes but that’s only 1/3 of the story. The rest of the story is getting the correct rhythms, and then listening to his phrasing, and figuring out how he laid out on the strings.
I'm not a good enough reader to comment on the rhythmic precision, but I will say that laying out the strings is the guitarist's job, not the transcriber's. I mean, that's why you never see violin tab, LOL
It's a shame how many people will dismiss Allan's playing at first listen and therefore never get to hear any of this incredible, other-worldly music.
Those people don't have any ears anyway.
One of the most extraordinary sound painters.
In a career of impossibly brilliant solos, this might be my very favorite one and I've heard nearly all of them. Kudos for the metrical phrasing in the transcription. Holdsworth wasn't an avant prog odd meter freak, but he never played straight up-and-down time, either. Dripping with soul and emotion over all those abstruse chords.
Fantastic. One of my favourite Holdsworth solos. It is breathtakingly beautiful. Thanks for uploading the transcription.
Thank you for a wonderful transcription! So much to say about this amazing genius. The Master, Allan Holdsworth.
I was lucky enough to witness his performance live twice in NYC's famous, but now closed, Bottom Line (right across the street from NYU). The band line up was: Wackerman, Johnson and Pasqua so, this was the early 1980's. Post Jeff Berlin and in between "Road Games " and Metal Fatigue." I was just blown away by the sheer amount of musicianship that was happening onstage. I will never forget him and I still listen to his music every day. He is now of the ages. RIP Allan Holdsworth.
There's something so mysterious about his playing on this tune. Allan always hit notes and played lines that seemed to pull me in an undiscovered emotional place musically. He searched for undiscovered phrases and the takeaway was always something so perplexing and emotionally complex. Almost like I'm not quite sure how to feel his playing sometimes, but the more I listen over and over again I begin to really hear something truly interesting and rich.
wonderful job on a very challenging bit of composition. Each time I heard Allan perform, it was as if he had found a whole other set of expressive traits to embody his solos. Truly the genius of our lives.
Bars 39-42, otherworldly
Awesome transcription! Love Alan’s playing. So different in so many ways. Thanks for sharing !
Awesome transcription, this material is pure gold!!!!
Thanks for sharing!!!
One of the things that makes Allan great is that he made Prog Jazz songs which not many Jazz musicians have done. This one has different time signature changes and I really didn't notice really until I saw this. Its amasing how some songs sound like they don't have "odd" time signatures and time signatures changes and flow nicely. Some songs you can tell that they have multiple different time signatures though.
Thank you for your impressive work! Allan is for me Number #1...brilliant, period.
Impressive transcription Geoff
What a solo!!! Thanks for sharing the work of genius.
That is seriously impressive. I don't think I could ever transcribe something like that. Good for you!
Respect!!!
Beautiful.
Geoff Li you are a god.
This is so strange yet I think I am starting to get him.. I like a lot of stuff but I love the blues and rock do its seemed too out there to me, somehow I even like watching music I don't like sometimes, and commenting you learn stuff, this is crazy though, I played for thirty five years and am just like... wth lol
Fantastic. I particularly appreciate your edit notes in the description.
Thank you, and no problem :)
I love how this has the chords as well so I coukd come up with my own improv soloing ideas and stuff and mabey even cover it. I bet the into melody would not be hard to figure out by ear.
Amazing piece of transcription sir
Best tune, been playing along to the record. I didn't catch that it switches to 6/4 3/4 5/4 etc. How cool
Yeah, cool phrasing in the tune-writing! Though the changes between 3/4 and 5/4 can be heard as just that, too -- a cool phrasing thing wherein both bars are still 4/4 but the chord change/accent simply happens on the 4th beat, as opposed to changes in meter. (This is getting into semantics, though, and it doesn't really matter either way lol)
@@GeoffLiMusic thanks so much, I'm studying this song right now, playing through it every day and focusing on the quick parts and getting them down
@@metalband Best of luck!
@@GeoffLiMusic thanks again for making the transcription!
@@GeoffLiMusic Yeah, the hypermeter is likely 4/4 but the chord changes justify localizing them with time sig shifts. Phrasing is always the most important thing.
Lovely.
Very well done!
you did a great job, i love the way you managed all that tempo freedom using these time signatures, really helpfull!
Well done!! Thanks
We'll done.
the master
Amazing work, thanks for sharing.
Amazing works! Where i can find a pdf of the transcription? Thanks
Send me a PM!
Hi Geoff great transcription ! Is it possible you have a PDF of this ? I am studying some of Allan's solos and thus would help me to have it on paper where I can take/ make some notes for myself. Please advise and thanks in advance.
Sure thing! Shoot me an email
it's alien!
Hi Geoff, is there a way I can shoot you an email without the whole internet seeing my email address ? Please advise and thanks again sir.
bro u got tab ?
lol
How much for transcription?
PM me
Geoff Li sent u email
I saw Alan in 1982. He wasn't this good then.
Well, you probably got most of the notes right. But you copped out when you have these groups of 31 notes to measure without actually figuring out how he’s breaking it up. So your rhythmic notation is pretty shotty. Also, without understanding how the place is the notes on the strings, it doesn’t really have much meaning to any other guitar player except for is a way of understanding his no choice. So he did a good job in getting the notes but that’s only 1/3 of the story. The rest of the story is getting the correct rhythms, and then listening to his phrasing, and figuring out how he laid out on the strings.
I'm not a good enough reader to comment on the rhythmic precision, but I will say that laying out the strings is the guitarist's job, not the transcriber's. I mean, that's why you never see violin tab, LOL