IN OUR LAST issue, we presented the first part of our two-part lesson in understanding and using the unique and highly idiosyncratic scale-based chord voicing and single-note soloing techniques of the late Allan Holdsworth. In consideration of the complexity of his chord progressions and numerous scale-playing techniques, our goal throughout this lesson has been to provide an accessible and inspiring introduction to Holdsworth’s style that doesn’t require his rare genius to understand or employ.
Last month, we presented examples in the family of relative modes based on the parent C major scale (C, D, E, F, G, A, B), with an orientation primarily around F Lydian (F, A, B, C, D, E) and D Dorian (D, E, F, G, A, B, C). We also looked at Holdsworth’s inventive chord voicings…
