ALLAN HOLDSWORTH REACHING FOR THE UNCOMMON CHORD GUITAR TRANSCRIPTIONS, TEXT, it PERFORMANCE NOTES, & PHOTOS © COMPOSITIONS BY ALLAN HOLDSWORTH TEXT BY CHRISTOPHER HOARD WITH ALLAN.HOLDSWORTH TRANSCRIPTIONS BY FRED AMENDOLA MUSIC EDITING BY JOHN CERULLO TEXT EDITING BY CAROL FLANNERY DESIGN BY CHRISTOPHER HOARD MECHANICAL ART BY JJ. FLANNERY: PRODUCED BY JOHN CERULLO PUBLISHED BY 21ST CENTURY MUSIC PRODUCTIONS DISTRIBUTED BY HAL LEONARD PUBLISHING CORPORATION e BOOK COPYRIGHT 1985 BY 21ST CENTURY MUSIC PRODUCTIONS, INC zi y PO. BOX 1816, WAYNE, NJ 07470 < [ALL RIGHTS RESERVED. ANY USE OF THIS MATERIAL WITHOUT THE PERMISSION OF 21ST ‘CENTURY MUSIC PRODUCTIONS, INC. IS A VIOLATION OF COPYRIGHT LAW. es, a aeUML Laas UME ARG CONTENTS DEMON ALE — a current biography SELECTED DISCOGRAPHY MACHINES I'VE KNOWN, GENERAL MUSIC NOTATION NOTES COMPOSITIONS THE ABINGDON CHASP FRED HOME LETTERS OF MARQUE SHALLOW SEA TEMPORARY FAULT THREE SHEETS TO THE WIND. TOKYO DREAM THE UNMERRY-GO-ROUND WHITE LINE THE UNMERRY-GO-ROUND (a story sketch) THE HOLDSWORTHIAN VIEW QUAFFER'S COMMENTARY REFERENCE NOTES — PHOTOS/TEXT 100 110SELECTED DISCOGRAPHY 3 As solo artist: Metal Fatigue - Enigma (1985). Road Games - Warner Brothers (1984). Allan Holdsworth, JOU - Enigma (1982). As group member or guest artist: ‘Tempest with Tempest - Bronze/Warner Brothers (1973). Bundles with Soft Machine - Harvest (1975). Believe It with Tony Williams New Lifetime - Columbia (1975). Million Dollar Legs with Tony Williams New Lifetime - Columbia (1975). Gazuese with Gong - Virgin (1976). Enigmatic Ocean with Jean-Luc Ponty - Atlantic (1976). Feels Good To Me with Bill Bruford - EG/Polydor (1977). Expresso Il with Gong - Arista (1977). UK with UK - EG/Polydor (1978) One Of A Kind with Bruford - EG/Polydor (1979) Individual Choice with Jean-Luc Ponty - Atlantic (1984). Soma with Soma - To be released (1985). i i i The Brewer notes: Certain records are not included in this discography. Apart from numerous bootlegs, releases not included were either recorded under gruesome cir. cumstances at best, or | disiked my performance on them to such an extent that | feel they're not worth mentioning for my discography, and therefore not recommended — thank you: TTT TTT TTT TTT PT 22GENERAL MUSIC NOTATION NOTES In order to make the music of Allan Holdsworth as easy to read and execute as possibie. we have included a few general music notations which you should follow. These are in ciicated throughout the Iranscnptions where appropnate. The folowing notes provide more information on some of these notations. 1 To designate legato. over-ring, or sustain between the strings without wring in aitlerent vores. a long slur symbol s used over the notes to be sustained. It will be indicated only in the standard notation line and not in the tablature line. This is done so that the music 's nol unnecessanly cluttered. The less black marks on the mustc. the better and clearer "yall bef you're using the tablature line, just take note of the sustain slurs above the sian dard notation line as you go along. Its smportant to remember that these “sustain slurs” are not phrase. hammer-on, side (or pull! markings. even though they may look like i. 2. Hammer-ons, pul-olls, and slides are always marked with one of the following, above Or below the notes in question: Example = Pull-off lammer-on Slide = Right Hand St Pick = Right-Hand Hammer-on, 28In this Case of a nght-hand hammer-on, you play the chord. then you use your right-hanc linger to hammer on the single note F on the Ist string whule you hold down the chord wth your left hand. In passages where Allan gets quite elaborate with his combinations of any oF al of the above techniques. we wil only show the techniques in the tablature line. It we tried to show it n the standard notation. i would become unclear because o! all of the musical notation already being used in the standard notation. When this is done. "twill be marked in the measure(s) by an asterisk above the standard notation line along ‘wth a footnote at the bottom of the page as a reminder. So i! you'te reading from the stan ard notation line, you will have to {ook at the tablature line 10 see exactly what to do. Example: Measure 41 from “Home” W H RHH SL Let's talk our way through this measure as an example of how to use the notation accurate- ly. We wil follow the tablature line since its indicated by the asterisk above the standar lation line thal the hammer.ons, slides, etc, are to be found in the tablature line, for previously stated reasons. ‘a. Hammer on the 9 to 13 on thé 6th string (C# to F) and hold it down, 'b Pick the 9 on the 4th string and hold it down; pick the 9 on the 3rd string; hammer ‘on the 12 on the 4th string. Remember to hold everything down that you have played thus far Use your 1st inger of your left hand to bar all the notes that you are playing on the Sth fret. Pick the 9 on the 3rd string, again holding it down; pxck the 9 on the ‘st string (hold down; with your right hand, hammer on the 15 on the 3rd sting and side it up to the 16 on the 3rd string; now wih your night hand, hammer on the 15 on the 2nd string Remember, try to hoid down as many notes as possible for sustaining purposes. This is, important in order to get the great over-ring sustain that Alan gets when he plays, O! course, any of the notes that are involved as preparation note(s) for any hammer-ons, pultots, etc must be held down so that you can get a good, clean, loud sound on your follow:through. 3. Ties in the standard notation line are not usually shown in the tablature line. If needed for clarity when starting a new line or page, they are shown in parenthesis 4, All atiempis are made to identity the chords. Polychords were necessary at times for simplicity and clarity. 5. The symbol for a chord strum is } . The arrow shows the direction to strum in. Up {5 10r upstrum., and down fs Tor down-stum. 6 V.B. stands for vibrato bar 7. The chord changes that go over the guitar solos re not included in the transcriptions but are available upon request from 21st Century Music Productions. 29THE ABINGDON CHASP Allan Holdsworth Vere g 8 of Fem? 6 c otf Fim £6 A Ee EI w me Ey Fo Copyright 1979 EG. Muse Inecnational Copyright Secured Made in USA All Rights Reserved Used by Permission 32Em? GmiF Fe Bb Fe Fu ro = = 5 SSS 3 3 WF a Fim F6 A ee EN 33Em7 GmF Fs BbID BA? Am? Bb? EWG cmigs ba 34LETTERS OF MARQUE Allan Holdsworth Eom? DF Em? Fim? & I 3 + NoChora d= 126 #1 oon FA Ebm? De Em? Fémt) Ba Fo <™, To Coda cic Bom/C B(4995)/B>_FF6 @ FIC A 7 . ° Copyright®1962. 1OU Publishing International Copyright Secured Made in USA. All Rights Feserved Used by Permission a7Embs 6/965 "E” Pedal to M17 Em3/9b5 Em6/9 si ta he eS b’ bm? D> Em? Ftm7 no 33 ——3 Gtm7 or 38Fi Gti Bh cl ci pa en re _ pigs pee pa ee . Eysus a Bus £/9 6 EIS To Solos Emss 6/965 Embs if 39Em?/9bS 2 b Em#/6b5 Coda Fer GEIL E16 Boi cu cat jen ren tim? De Ent Fin es NC. Reg get Ta a ae —— = : = 3 aS = fcr . ss ee ; See = > + + 4} 40cict Bhm/C B955)/Bb F316 E/9 Slow waver - sharp then natural w/tremolo bar. aFRED Allan Holdsworth Eo FRE Wearure 1 z * 70 1 Copynght= 1875, Musical Wiaile. ine International Copynght Secured Mace im USA All Fights Reserved Used by Permission 44Bm! Bmiaa9) D9 Fins 45Bmvadd9) pict c eens +S SEE fi 7 i aa St : . + + — : = — e m Bm(add9) Bm(adas) pict cB. DS. al Coda ¥ 30 a 46Bm(add9) Bm(add9) pict cB 47HOME Allan Holdsworth Freely Approx. d= 80 6/9 Gn $e (RH. if necensry) Intempo J= 80 Emi E919 na De bva~ 2 a Fpm7gs F/9____Em7_Dm?_Dom7(b11)_G? 7 Copyright ©1985. !OU Publishing International Copyright Secured Made in USA. All Rights Reserved Used by Permission 50cB Am? Em? Dmo Dme/9 cs Dm Pe ~, F/9 ATE c Grbsb9 G9 cH6 fs — wn" Fo Amol9 6G CF 51E46 /3/D Eom? Eomobe ABA BOOKS Bae fea FTS9/A Ab ions Soa loco ba REALM. A Pek w/thumb had * A 2 RH & hold 6/7 Eb/B Gort BI gra = oF 2 3 M5 | En9IGt Toco 3 ) oe Es 8 ‘7 cists Avice Em6 Dém7/its a> aec#7/68999 ae DHA pws Ebmo ee b/d Gbobs Gb oe a Te bee ee te bg ens cake a: se 6 % be ny 82 co ‘s + Toshow downbeat on (5) * See tablature for correct hammers -ons,etc. 53Coda Dm? Fb9 Abo Acopes En Aa AOS AFICt Emé——Dtm7/1145 C#7/6s969b5 loco 3 Ra AISIE F/9 Em? Dm? Dbm7(611) Am9 c Bb6 cs Ab(+5) Em6 Dm FS. os ba 8 ° 70 * See tablature line for correct hammers - ons, et 54TEMPORARY FAULT into J= 76 Ey Emi1 Allan Holdsworth Em6/G a 2fr § " DIA . Gm6/Bb FIC Cm6/E% GID pg rr fae _ fe Dmns/F 7 1 Ft Fo ABIGIER Ft ae a aa ms /A st, Et Copynght1982, 1OU Publishing International Copyright Secured Mace in USA. All Fights Reserved Used by Permission 57Fie BY/AIF aa me ma 3 17 a & i gg s—., v6 7 Bm sus Dia, 'Ffm7(ada11) DIG, Ba > 2 ro Ey FemTadat) pic but i é 58 vl ea 12 hols Kammer Gols fee rae i E te,Fimtiadd11) DIG at. Coda DS. al Coda feel e oz First time through: Play melody Second time through: Melody 3 thru 8 Piano Solo 9 thru 20 ‘Third time through: Guitar solo 3 thru Violin solo 9 thru 20 Fade on Coda 59SHALLOW SEA Allan Holdsworth Freely Approx. d= 44 Into. Be ce De Atsus cH, RAM —s . os n — = z = Oe rere ey Geen ea en Ree b. fe cates bo ae Ht a oe Te oF T ; == 3 + mm S mm ey cm ae J > @: eo raat a - oe eae a - = 7 7 = 3 : ° 1 € tir i ee eae ore Be tae 2 eee me = * s ats <~—* T + 7 . ; - : 3 ' 13 ry co 18 Copytight®1982, OU Pubishing International Copyrignt Secured Made in USA. All Rights Fleserves Used by Permisson 62Ge ws) era Grnss pres on tee ae ee on ea ne 7 - : ee : $ : 3 7 : = : cn Abs G42 FAD ch A(bS) BZ B29 DHS C#7sus Afsus Bobs) : —— Sa a fps TF # i, ae -4- 8 +. t ? : = = = Se 5 : = —— = BH6 FA9 De Bibs) CHC #2(b9) ARES) AD ais ve 0 f. £2 Bb/6Dh6 F/O ED BHSS).—«C2_—=—«C2EHS).— Cra 3 = f a pape 41. did + 2 Eo 63Gtsus AS) Fisus FAS) Atsus BUESYAS A¥7sus(n0 31d) Abm74s (Phrygian) I L—_ oY wm a Afsus BOOS) Gtsus GHGS) Asus BHS) ATsusino 3rd) Am74s (Phryeian) oS w 64Asus Bos) Gsus Ges) Freely Approx. ee Gm) 79 Coda DS. al Coda Code mys a + & ——$—_—<—_—=— | — | Gos) 619 E+ a T r + = 7 > = 2 7 2 = } n n oe cy cy 65Bb6/9 Ee FB Ge Boe BS. Ae Gisus 7 2 38 oT Intempo J= 116 Am9/11 m7 Bim Gm? pe o pore ea cr ae ae oF cy BAS 4. ,E09) GT /ésus G4745.DI/6sus or 2 St re ea — 7 cae Gtsus AGSIIGE G#7susino3ra) Gtm7ts (Phrygian) SS St St "See tablature line for hammer - on and pull off. tre “ore er 66FB o Bie Bie —— m ; i ae = £ = pe oe + =e t * = = < ‘© = > : ° + 37 a In tempo d= 116 Amt. Bbm Gm? ENH6 Dow6 GHGs No Chord b= ® a Drlesus £4765) GT +@ 4 6" a <= oH FS a ‘See tablature line for correct hammer - ons, etc. orTHREE SHEETS TO THE WIND Allan Holdsworth de16 Abmo/Eb — E9/B comoics ab7s Sra---- T 2 ® E/Gt_ C/E AbED ByD fr Db. Ab BL ToCodgFAUAE a -——S, FHIGE DiFt ” Ebm FHI6 BH6 1 2 wv 7 Copyright©1984, 1OU Publishing International Copyright Secured Made in USA, All Rights Reserves Used by Permission 70 ,D bs Ebm D9) Dor (CHada 1) ETOSIGH —ETBSIGH Fém7/it = ——— pe, 2 Bb) Be —~-, Ass ‘AmT(addl1) Ai6 6/9 nAas A619 D.S. al Coda Solo 88 Measures Costes FEIGt DIFE a Ebm E216 B16 B7t9/G 72Ebm D9) Ds cao ETS/GE EVS/GE Femi rE pete ae B9(49) Be ee rr |: TOKYO DREAM Allan Holdsworth Jao A619 Av6 “~— =, = ae Measure: F 2 Fam7es BIS9¢S BT Fi3sus B»6/9 Bb3/6 Dsus Dsusb9 Gm7es 2 Copyrrght©1984, (OU Pubishing International Copyright Secured "Made in USA. All Rights Fleserved Used by Permission 76GH ‘Atads9) AMOSNBIAL =D E/D D RH, (Mammers, Pulls & Slide) Hu HP D ED D OE Fi3sus 7THE UNMERRY-GO-ROUND Allan Holdsworth Fade in J= 144 Fm at AS Copyright®1985, 1OU Publishing International Copyright Secured Made in USA. All Rights Reserved Used by Permission 80Aun Aue Ala Ausar Aue Ato ‘Azo att Ane Aza ‘Ae ‘Age Azo 82[Theme 1. Part B] ‘essures BI - 3S Superimpored on Measures Al -A25. “Timing To Be laterpretes Loosely. Gros GbI9 GHOS GHP Gh/DsusGd/HS 4/9 Gb/abs = o. GbI9—GhI9#S Bos Bem cm Dby98s >= _— Bie Bie Bis Bie pws Db/9bS DIO Db /9sus_ DHS DBD Db/9S——Db/9sus se =>, — BT Bie Bie B20 pis. Fm7sus eb De B AG Bat Bae Bee Bae Bae Bae 83ole ATID — FARE RE ea rmesle e Jen fra . 4 < 2h “Re. nis D Pedal Only = Dae ATID mis ap Gis aay BY ae on SL_SL SL AID BIND PRRERIOG. pRRNALA Theme 3] (Theme 1- Ada Drums & Bas) derss Fm Ey e abbrum solo Play Theme 3 EXACTLY Drie ATID 7 ot. appt 7 (Theme 4] BRR FRR ror cha Fre sat & Timing ie (Theme? w/Gutar soo) @ ‘0a 4 D Pedal Only a) ° Vibrato bar Fol Full Fall 8676 ATID Dmi9 ee" aE ra Q®.... Tare “x Giap ° " re ae Toco ron® r@ to po Sra Seow rn i Wg, SE H AID Buy : 12 pee Te 78 [heme 5] Key of E Gale Chord trouph Harmonie or Fitch TespontrTrmctiption ian approximation dem Boas a7i 1B Tas Chord Fades nto Next Theme Freely Approx. J= 60 i ° ™ g 3 g g Dm Sva--- Tit F shige a t is} it “3— u : te r $ as = — z a " —— 7 . r " f —— = pmi§ ab Be By Dic mitts, cic) Ges 88—<—— we eam ae as Bins) Db 4 i | — 2: a ga be. - és re foes ; . 7 = be 1 ™—* — 7 — 1 —= : 7 z = —— : + rs a a 7 cy = wrjous —AmT/6.—«Gimt8) FOS =D imran i —, +s aft > (22st Ses : EE 95 ge ra tr TF 4 & Tt . ™, * T 7 * + — 16 26 3 — fs 7 + + 4 6 apa 101 102 03, E/9 Eb7 69 ° BID D?55 Db/9 GHS Gin7 ts, GIF toco = 6 | Gotan Fel 2 2 ee re = Se 2 + ¥ r oe f 1 i 2 —; 5 SH —+ — it : 108 108 Bet we wT Fe Gos cs Ant ov 89Jen #° Bm71¢8) iB Gy741By Goes) 8/9 Bbe/D Gap Fém7/1ict f zz 7 te ii 1 ANTHIC AGS Db/9/Ab Bins) Db/9 a ime 123) 12, 125 EIB AmT — Gim7ts) Fim? Fm? Dw9 Bm6 Be 17 1 Be 130 at 132 138 13a 138) 90198 17 we 138 GIF Em7ts FEY Gs eS To Soo rrr iat 1a ae aa 1 BIC Bort DIA Gm? Fim7ts Em? Dim? B/S Amé os Bb7bS Te isa Te Ts 16 [Theme 7) ‘Chord Frames from Themes 2 & 6 — (DPedat, Keybeard Solo) den 36 ATID Des AT/DDm/9 D Pedal Only 19t=160 ier 1a 763) Tas 1AND G13/D DH6 AIN/DBILD * Ps 188 06 ToT tee rrostry DHG AT/D D6 ATID Dmi9 i ia iT 176 16 ANID. G13/D v6 AI1/DBI1/D 17 ie ie 180 Play [Theme 5] EXACTLY Freely Approx. d= 84 2 92WHITE LINE Allan Holdsworth d= 80 Gtsus paves Des) Gimi9ts Deon = —~ bm Cm/9 Bil Ebm Bom/9 Cmigts iF ‘ ry 13 it fingering Copyright©1982. !OU Pubisting International Copyright Secured Made in USA. All Fights Reserved Used by Permission 95G9 Bm/9 Fem/9 Dj9bs D9 oa Ao 96 Ist time repeat 2nd time D.C. al Coda a[Be] 32-69: omit Mo2 - 69 second timethru, F Play M62 ~ 69 twice third time thru, Eom Bom/9 cmi9as Ab?aus Ave (i ee 2 — he Abreus Ab6/9 Ab/9 Abrus 6/6 om gt bbe (a LI 36 fngerne “ 7 Abus Ab6/9 Ab/9 Abasus Ab/6 = bag bp. — >> TEs 8 at fingering A¥?sus Ab6/9 Gm cima a a 7 w "See tablature line for correct slides and effects 97+ EW Emi9 Cm7sus Gmig, oS FH Ebm7sus Bbm/9 Alo bee 3 a 7 we at fingering loco D9 Ebm9 Bm7sus Fim/9 F/9 Dm7sus Am/9 cr 8 8 oF ‘See tablature line for correct slides and effects. 98,cHict Fm Crs A 7susiE. loco be 2 be iy oF o oa Last time D.C. al cr cmrts CeTsus/B AbTsusIA 2nd ending be b, Code Bim mio 49 r 7 at singsing E49 Em/9— CmTsus Gms FI9 Ebm7sus — Bbm/9 b.