A Quote by Allan Holdsworth

As the chord changes go by, I don't so much think about a static chord voicing changing. I just see the notes on the neck change. — © Allan Holdsworth
As the chord changes go by, I don't so much think about a static chord voicing changing. I just see the notes on the neck change.
When we do reggae, it's normally a one-chord or a two-chord, or whatever it is. With Sting, there'll be chord changes, key changes.
A scale is just the notes that are in a chord played one at a time instead of together. That's what has allowed me to go through the possible notes that work with a chord and make choices about which ones I like best. I go through by ear; you can do it by theory too, but the best way is to learn by ear.
Then I began to play. Variations on a G major chord, the most wonderful chord known to mankind, infinitely happy. I could live inside a G major chord, with Grace, if she was willing. Everything uncomplicated and good about me could be summed up by that chord.
Like the ability of all the musicians to end the song at the right time. Or when it's time for a chord change, but nobody knows what the chord should be, and you all, you know, it all just changes, magically, at the same time. It's when you pick up your phone to call someone and that person is calling you.
I grew up with a piano, and my aunt taught me chords. I played with bands in high school and I could do like, C chord, G chord, D chord; really simple, rhythm piano.
I'll just sit at the piano a lot an play like through different chord exercises and kind of just throwing my hands down on the piano from one chord to the next to see what happens.
My real name is Chord Overstreet. I actually got my name because my dad is in the music business as a songwriter. I was the third one in my family born, and there are three notes in a chord, so that's how they came up with my name.
Actually, because I'm so small, when I strike an open A chord I get physically thrown to the left, and when I play an open G chord I go right. That's how hard I play, and that's how a lot of my stage act has come about. I just go where the guitar takes me.
I've played the guitar since I was 12, and just taught myself songs chord by chord.
I think there's something that feels so good about a 1-4-5 chord progression. It's a very standard chord progression, and it just feels good to the ears.
I can talk about feelings, but I can't talk about why this chord on top of this chord sounds cool to me. It just makes me feel a certain way, and I like it.
Playing inside the changes means playing enough of the important notes of the chord progression at important times. A good solo might be very free, but every once in a while it loops or hooks into an essential note that describes the harmonic change.
What I'm trying to produce is the visual equivalent of the chord change that makes the hairs on the back of your neck stand up.
Matter exploded into being, apparently as chaos, but in fact as a chord. The ultimate power chord.
Chopin was a master of melody, harmony and voice leading - the art of smoothly moving from chord to chord.
I had to learn chord shapes... I bought books with chord charts. I used to listen to all kinds of pop music.
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