Honestly, I've been playing guitar for a few years and Holdsworth has absolutely altered my perspective of music. You doing these really helps break that down, I, and many perhaps others, really really appreciate it. Thankyou
Been listening to this tune obsessively for decades. This is a fantastic lesson with lots of great insights. I play in all fourths tuning, so I have to modify some of his stretchy fingerings. You have a great teaching style. You should have a patreon page, I would definitely contribute. Thank you Adam
Thanks!! Ive been asked about the Pateron thing but I find it incredibly difficult to create content on a schedule, esp if im not passionate about it. I would feel awful for taking money and not delivering. The idea is flattering though thank you!!
@@insidejazzguitar8112 They do. I haven't in my most recent video, but thats only because of All the world I put into it, as well as if anyone wanted to thank me for all the other lesson videos.
just want to add in my many thanks for all the work you are doing with Al's music. I always especially loved the swell section on this tune and I like that I can physically play all those chords
Thanks for your hard work on all these tutorials. I'm using this to help me learn this on piano because I'm better at piano and it's much easier on piano haha. A couple chords that I think are worth pointing out though from a jazz perspective, especially considering the bass guitar's notes on the I.O.U. recording, are at 21:36 - with the bass playing an F, it becomes actually a pretty standard jazz voicing for an F7#5#9 - and at 19:16 & 26:23 - those are what my jazz instructor would have simply called a "tonic diminished sound", characteristic of the whole-half diminished scale rather than the more common half-whole diminished scale, characterized by a diminished triad with a major 7 on top, which can indeed also be written as a slash chord: a major triad with the b9 in the bass, like you said. The voicing at 26:23 simply adds the second scale degree of the whole-half diminished scale as an extension on top. Just the way I saw them. Regarding what you call the chords, it can't matter too much anyways because of Allan's own world of harmony he created separate from the world of standard music theory, but once I added what the bass guitar plays on the recording, it often changed the chord names, sometimes to more reasonable names. But still, those don't matter much, partly because there is of course no bass on "At The Edge" on the album with Gordon Beck anyways.
The bass absolutely does play an important role but as you already know, by in large, Allan didn't tell what his bassists to play so different players interpreted the chords differently.
Thank you so much! :) Listening back to that swell part, it sounds too bright, but like I said, its just something I have on the Kemper for fun. The Magic Stomp is not a part of my rig so if I wanna play around with it, its easier for me to trigger it on the Kemper than set up the stomp haha. But the stomp def sounds better!
Hats off to you for your holdsworth lesson series. Equally amazing for those like me trying to learn these tunes on piano (where the voicings don't feel like acrobatics 😁). His chords feel great on piano with two hands.
Daaaaaang! That is total Olympic training ,whew! Thanks so much for the heavy artillery! Hope you are well God loves you deeply Shalom ✝️🤗🐼❤️🌹💐 Philippians 4:8
This is some seriously good content. Tried to learn this years ago with a PDF but some of those chord stretches are too much for my hands haha. Thank you so much
@@TurrigenousOfficial Allan's hands were huge to be fair. Lifting the neck up high I guess is the only way to reach those voicings for regular-sized hands. Out of curiosity, where did you get the info about this being two separate tunes initially? Never heard that before, very cool insight to this song.
@@philg7806 They certainly were! But a lot of his chords can be played with good technique. There are a few that you just can't do unless your fingers are long enough. About that info, I just heard it on the album haha. Check out "The Things You See" with Allan and Gordon Beck. You should be able to find it online. en.wikipedia.org/wiki/The_Things_You_See
Saw Allan play the IOU material in a London pub with his trio around 1980. It was clear he was a genius the like of which had never been seen before & would never be seen again. Yet the pub was barely full & he couldn't get a record deal 🤔
Thats right, I forgot about that! That part was also repurposed and solo'ed over in "The Things You See" with Gordon Beck, so I guess that part is older than all the others!
Id love to but its all keyboards, except for Allans solo. Plus its a Gary Husband tune. If they played it live and Allan comped the chords under it I totally would! But as far as I know, it was never played live. Its mostly like a Gary Husband tune featuring an Allan Holdsworth solo
You know I've been talking about learning this tune for a long time, finally got round to it. Your videos, skills and insight are amazing, mate! Thank you so much!
Wow, wow, wow, wait. There's that bot again on the comments! In every youtube video i've been seeing ''Logan'' or something like that. I laugh to death reading bots comments, i spotted this bots even in a BRAZILIAN brewing channel. About the video, i would comment that i prefer the later Allan's albums, beginning with 1983 stuff, but i think even in this album, there's a couple of nice things!
I know, its quite annoying. It got me the first couple of times. I always preferred Allans non-vocal tracks personally as well, but I always feel that even in these songs, theres always something interesting to learn. Plus most people seem to like the first album more than his stranger stuff.
@@TurrigenousOfficial Maybe because it's more simple fusion? I think, for example, the lasts albums were really challenging to listen and to like it becase it's dense. The first listening was like ''yeah, it's him shredding'', but in 10 times listening the album, you concieve that you learn the stand up with his music and appreciate more. Digest something complex needs time (like 16 men of tain, i thought it was just ''training scales'', but i knew i was wrong since the beggining).
@@MTheoOA yeah I suppose. Its more 'rock' based. I like when Allan is Allan, like his solo stuff. To be honest I know a lot of people love his work in other bands but I dont know much and not a lot of it really grabbed me the same way his solo material did.
@@TurrigenousOfficial Yeah, he have different timelines in the decades. In the 70's he was in Gong (never liked that band), Soft Machine (nice band) and UK, i like that first UK album, but it will have a King Crimson aura because of Wetton and Bruford, it's a wonderful album, but it's that prog type, and i dislike Wetton singing. As i remember, i was listening Planet X, and, in somewhere on an album, i listened a solo of him (in the first 2 seconds we know it's him, his identity is really that strong). But we know most of people just look to him like ''the guy that have spider hands and make strange shredding and legato, he's a genius because of that!'', it's not that, really not; his solo work has that purity, clean air u only get on his solo material...
@@MTheoOA I can't really disagree. When I want to listen to Allan, I want to hear him be himself. But sometimes its good to hear his take on other peoples projects when soloing.
Thank you for putting Holdsworth lessons out there man. Seriously. Not many people have the skill nor the patience to do what you do. Thank you.
Thank you for those kind words! Trying my best :).
++++
4:01 The chords that you play is so soothing man, RIP Allan Holdsworth
It's a fantastic chord and it's so easy to play!
Honestly, I've been playing guitar for a few years and Holdsworth has absolutely altered my perspective of music. You doing these really helps break that down, I, and many perhaps others, really really appreciate it. Thankyou
Thats why I do it. Thank you so much!!
Been listening to this tune obsessively for decades. This is a fantastic lesson with lots of great insights. I play in all fourths tuning, so I have to modify some of his stretchy fingerings. You have a great teaching style. You should have a patreon page, I would definitely contribute. Thank you
Adam
Thanks!! Ive been asked about the Pateron thing but I find it incredibly difficult to create content on a schedule, esp if im not passionate about it. I would feel awful for taking money and not delivering. The idea is flattering though thank you!!
@@TurrigenousOfficial I think some people offer a PayPal address for donations.
@@insidejazzguitar8112 They do. I haven't in my most recent video, but thats only because of All the world I put into it, as well as if anyone wanted to thank me for all the other lesson videos.
New subscriber here, tendinitis here I come!!!
Haha thank you and be careful!
just want to add in my many thanks for all the work you are doing with Al's music. I always especially loved the swell section on this tune and I like that I can physically play all those chords
Isn't that an awesome feeling??? Thank you! :)
My favorit Allan tune!
Thanks!!!
Thanks for your hard work on all these tutorials. I'm using this to help me learn this on piano because I'm better at piano and it's much easier on piano haha.
A couple chords that I think are worth pointing out though from a jazz perspective, especially considering the bass guitar's notes on the I.O.U. recording, are at 21:36 - with the bass playing an F, it becomes actually a pretty standard jazz voicing for an F7#5#9 - and at 19:16 & 26:23 - those are what my jazz instructor would have simply called a "tonic diminished sound", characteristic of the whole-half diminished scale rather than the more common half-whole diminished scale, characterized by a diminished triad with a major 7 on top, which can indeed also be written as a slash chord: a major triad with the b9 in the bass, like you said. The voicing at 26:23 simply adds the second scale degree of the whole-half diminished scale as an extension on top. Just the way I saw them.
Regarding what you call the chords, it can't matter too much anyways because of Allan's own world of harmony he created separate from the world of standard music theory, but once I added what the bass guitar plays on the recording, it often changed the chord names, sometimes to more reasonable names. But still, those don't matter much, partly because there is of course no bass on "At The Edge" on the album with Gordon Beck anyways.
The bass absolutely does play an important role but as you already know, by in large, Allan didn't tell what his bassists to play so different players interpreted the chords differently.
@@TurrigenousOfficial Ah, I figured something like that might have been the case. Thanks for the info.
Wow fantastic lesson!
Great stuff again John, always great to see it played through alongside the analysis, not just read about! Really enjoyed your swell sound too!
Thank you so much! :) Listening back to that swell part, it sounds too bright, but like I said, its just something I have on the Kemper for fun. The Magic Stomp is not a part of my rig so if I wanna play around with it, its easier for me to trigger it on the Kemper than set up the stomp haha. But the stomp def sounds better!
Hats off to you for your holdsworth lesson series. Equally amazing for those like me trying to learn these tunes on piano (where the voicings don't feel like acrobatics 😁). His chords feel great on piano with two hands.
Thank you 😊
thank you so much for this video, so helpful. you're a great teacher!!! i subscribed 😊😊
Great! Thank you for watching 😊
Finally! I was waiting for this lesson... thank you man!
Thank YOU, for watching!
Great lesson once again. Can't wait to see the next one!
Thanks!
Thanks for doing any of these songs!
My pleasure. Thanks for watching!
Daaaaaang! That is total Olympic training ,whew! Thanks so much for the heavy artillery! Hope you are well God loves you deeply Shalom ✝️🤗🐼❤️🌹💐 Philippians 4:8
So beautiful the phrasing With the vocals
This is some seriously good content. Tried to learn this years ago with a PDF but some of those chord stretches are too much for my hands haha. Thank you so much
Thank you so much! Yeah a bunch of it is pretty challenging but good technique will get you far!
@@TurrigenousOfficial Allan's hands were huge to be fair. Lifting the neck up high I guess is the only way to reach those voicings for regular-sized hands. Out of curiosity, where did you get the info about this being two separate tunes initially? Never heard that before, very cool insight to this song.
@@philg7806 They certainly were! But a lot of his chords can be played with good technique. There are a few that you just can't do unless your fingers are long enough. About that info, I just heard it on the album haha. Check out "The Things You See" with Allan and Gordon Beck. You should be able to find it online. en.wikipedia.org/wiki/The_Things_You_See
Jezus the chords!
I know! Its a PITA haha
YES THANK YOU. I don't look forward to the last of these lessons.
Thank you! I put a lot up so theres a lot of material there.
IOU was originally recorded in 79/80, but didn't get a major release until 1982.
I think it was recorded only in 1980 on the boat in England. Did I say 1982 accidentally?
Saw Allan play the IOU material in a London pub with his trio around 1980.
It was clear he was a genius the like of which had never been seen before & would never be seen again. Yet the pub was barely full & he couldn't get a record deal 🤔
Just how it is 🤷♂️
Great vid! Fun fact: the vocal melody towards the end of the tune was pulled from "Wish" on Velvet Darkness.
Thats right, I forgot about that! That part was also repurposed and solo'ed over in "The Things You See" with Gordon Beck, so I guess that part is older than all the others!
Teach city nights please
Id love to but its all keyboards, except for Allans solo. Plus its a Gary Husband tune. If they played it live and Allan comped the chords under it I totally would! But as far as I know, it was never played live. Its mostly like a Gary Husband tune featuring an Allan Holdsworth solo
You know I've been talking about learning this tune for a long time, finally got round to it. Your videos, skills and insight are amazing, mate! Thank you so much!
я не могу сыграть это на гитаре и я включаю твое видео , там есть возможность послушать эти аккорды медленно и отдельно. спасибо
Thank you! It's ok to adjust the chords to fit your ability
@ I like the sound of the original, all these non-chords and altered steps - they take me to another world
rinnnnnng.....rinnnnnnnng.......rrrrrr. "Hello? Is this the Occupational Therapist's office?"
🤣
are you psychic i was just thinking about learning this
he does it to me with every song, i'm scared tbh
Well I gave away what song im going to do next this time!
Wow, wow, wow, wait. There's that bot again on the comments! In every youtube video i've been seeing ''Logan'' or something like that. I laugh to death reading bots comments, i spotted this bots even in a BRAZILIAN brewing channel.
About the video, i would comment that i prefer the later Allan's albums, beginning with 1983 stuff, but i think even in this album, there's a couple of nice things!
I know, its quite annoying. It got me the first couple of times. I always preferred Allans non-vocal tracks personally as well, but I always feel that even in these songs, theres always something interesting to learn. Plus most people seem to like the first album more than his stranger stuff.
@@TurrigenousOfficial Maybe because it's more simple fusion? I think, for example, the lasts albums were really challenging to listen and to like it becase it's dense. The first listening was like ''yeah, it's him shredding'', but in 10 times listening the album, you concieve that you learn the stand up with his music and appreciate more. Digest something complex needs time (like 16 men of tain, i thought it was just ''training scales'', but i knew i was wrong since the beggining).
@@MTheoOA yeah I suppose. Its more 'rock' based. I like when Allan is Allan, like his solo stuff. To be honest I know a lot of people love his work in other bands but I dont know much and not a lot of it really grabbed me the same way his solo material did.
@@TurrigenousOfficial Yeah, he have different timelines in the decades. In the 70's he was in Gong (never liked that band), Soft Machine (nice band) and UK, i like that first UK album, but it will have a King Crimson aura because of Wetton and Bruford, it's a wonderful album, but it's that prog type, and i dislike Wetton singing. As i remember, i was listening Planet X, and, in somewhere on an album, i listened a solo of him (in the first 2 seconds we know it's him, his identity is really that strong). But we know most of people just look to him like ''the guy that have spider hands and make strange shredding and legato, he's a genius because of that!'', it's not that, really not; his solo work has that purity, clean air u only get on his solo material...
@@MTheoOA I can't really disagree. When I want to listen to Allan, I want to hear him be himself. But sometimes its good to hear his take on other peoples projects when soloing.