Sto ‘Allan's singular chord approach is exemplified in the theme to “Tokyo Dream.” Here the chord forms are ex- tended by use of right-hand tap-on tech- ‘niques 10 suggest pianistic polychords and create voice leading. The right thumb, 7 Tokyo Dream (Theme measures 915) Gms yD @ 1) o in this example, plays an arpesgiatod accompaniment figure while the right hhand index and middle fingers ada higher independent notes or chord. partials, ‘Another application. of this double- hhanded chord siyle can be heard in the SE Sere ah ;pre-solointerhudeof "Road Games" Irom the Lp of the same ttle), wherein a staccato clavinet-like texture is implied by hammering-on aggressively with chord partials, Fomgiious2)/ eo * @-swceo wah ham same fog Abmaj7 (13 82/6, @ @ Amaj113659/Ab In the light of Allan’s unique ap- proaches and improvisational genius, it Is difficult to avoid analyzation of his techniques and methods. However, to ‘truly utilize the theory behind his amaz~ jing musical excursions, one must first ‘understand it and develop his own style 92 GUTTAR. Arm as accordingly. Allan himself stressed the importance of acknowledging the es- sence of improvisation, the development and expression of each individuals mus: {cal personality—guided, perhaps, by the influences of others, but altered by that Individual to produce his own sound as ‘opposed to copying someone else. This s the key to Allan Holdsworth’s style and to the man himsell.‘The expres sion of one artist's creative thought and the result of a sportaneous moment in time.