Exploring the 9-Note Scale: Messiaen's 3rd Mode and the Influence of Allan Holdsworth When we talk about complex scales in modern music,...

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This is a tune I wrote for Allan Holdsworth right after he passed away in 2017. It is based entirely on "The Diminished Scale" or "Messiaen's 2nd Mode." There are no chord symbols because I wasn't thinking of any particular root or voicings; I tried to base the voicings on notes within the scale. You can think of anything contained in this tune as being related to E7b9, G7b9, Ab7b9, Bb7b9, or Abdim7, Bdim7, Ddim7, or Fdim7. I hope you get something out of it. Enjoy!...

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This is an A minor pentatonic lick I like to use to build stamina in my left hand. There is very little picking involved. In fact the...

Kreisberg Inspired C7 Line Analysis  In this lesson, I will be breaking down a Jonathan Kreisberg inspired line over a C7, C9 or C13 type chord measure by measure. There is quite a bit going on in this line, as there are many elements of the jazz language present. And there are a number of harmonic devices that the jazz masters use to create tension and/or get outside the changes. In this case our changes would be a C7, C9 or C13 type vamp. In bar 1, the line starts out on E

This lesson/line is an attempt to shed some light on some of the unorthodox fingerings, and techniques that make Allan Holdsworth’s style so unique. Things you should look for while playing through this line are Allan’s use of string skipping, three notes per-string triads, his extensive use of hammer-ons, and his unorthodox way of fingering three and four-note chromatic passages. The first part of the line was inspired by a phrase in Allan’s solo on his tune “Hard Hat Area”.

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