[ Предположительная тональность: F#m ] -= SPHERE OF INNOCENCE =- Allan Holdsworth, from _Wardenclyffe_Tower_ (Transcription by Elliot Freedman, August 1994) email: uh090@freenet.victoria.bc.ca This the second track on the _Wardenclyffe_Tower_ album features Holdsworth on the electric baritone guitar, Gary Husband on drums, and Jimmy Johnson on bass. Steve Hunt opens the soloing on this tune on keyboards and is followed by Holdsworth in whose solo the long sustaining and vocal qualities of the baritone instrument are heard. The baritone instrument used by Holdsworth for both the chordal track transcribed here and the solo is essentially a long scale electric guitar; a guitar with a neck that extends two, four, or more frets below normal. While Holdsworth occaisionally uses fifths tuning on these long scale instruments (particularily for performing SynthAxe-enabled such as "Non Brewed Condiment") standard tuning is generally used -- based not from E, but from D or even C (here the open strings being C, F, Bb, Eb, G, C). The longer scale length yields notes (especially closer to the nut and in the open strings) having richer & deeper tones and thus the instrument is referred to as a baritone guitar. As an aside, it seems that these extended range guitars were used fairly extensively in Nashville studios during the 50s & 60s to augment electric bass parts in country & western music. Holdsworth's baritone (& standard) instruments were built by Monterey-based luthier Bill DeLap. DeLap has employed elements of the Steinberger headless design and it's unique hardware, has worked with lighter woods favoured by Holdsworth for the bodies, and (for presumably sonic reasons and probably in light of custom mould tooling costs) has used woods in the neck as opposed to synthetic composite blends. Custom long scale double ball-end strings spanning 0.42 through 0.008 (at least for the standard tunings) were provided by the E & O Mari company for these instruments. (Aside from the _Wardenclyffe_Tower_ tunes "Sphere Of Innocence", "Zarabeth", and "Oneiric Moore", the baritone instrument is probably most awe-inspiringly featured in the unique ensemble setting of Holdsworth on baritone guitar, Marc Johnson on acoustic bass, and Italian composer/drummer Andrea Marcelli on the piece "Moon" from Marcelli's _Oneness_ release.) "Sphere Of Innocence" features standard tuning running, I believe, from a C four tones lower than a normal guitar's low E While this low tuning -- especially so with the long scale necks -- affords the piece its deeper sound, it is, of course, possible to play the piece on a normal electric guitar in normal tuning albeit in a higher register. While chords could be revoiced to take advantage of the more resonant open strings, I have opted not to do so in this transcription in order make more apparent the basic chordal shapes of the piece. These shapes hold, for me, the key to the harmonic flavour of the piece. Here, broadly spaced triadic intervals and the use of fifths in the lower strings (and indeed also often between the guitar and the bass where the "rooting" of the chord is left to the bassist) contribute to a spacious, sonorous, and strong sound. Furthermore, unlike the harmonies in tunes such as "Secrets" and "Wardenclyffe Tower" who feature many chords based on altered scales (#9 Lydian and it's other modes), the harmonies in "Sphere Of Innocence" are entirely based on the normal scale and it's modes. In fact, it seems that Holdsworth, to a great extent in this tune and others, plays chords where (or brings forth melodies in which) suspended fourths disguise major or minor tonalities -- thus achieving that beautiful, open sense of unresolve. Rhythmically the transcription is written loosely and presumes that the reader is familiar with the Holdsworth's guitar gestures and the piece as a whole. The gestures are given names for reference and to help outline the structure of the piece. The essential notes played by bassist Jimmy Johnson are, underneath each chord form, also noted. Right or left hand hammered fretting and full (or partial barres) are noted respectively as 'RH', 'LH', and 'b_IV' (e.g. barred fourth fret). Those of us without "C neck baritone electric guitars" will be required to tune down to C, F, Bb, Eb, G, C in order to play the piece in the register in which it was recorded. If you haven't the luxury of a transposing vibrato tailpiece you will likely have to change to heavy gauge strings to maintain any tension. Tune normally and tranpose the bass part up a fourth should you wish to play this little number on your Flying V at your group's upcoming highschool "Battle Of The Bands" gig (!?). I hope that you enjoy and learn from this transcription as much as I have through the process of preparing it. Your comments & critiques are welcomed as is your interest in my own CD of adventurous, electric jazz! The Elliot Freedman Group "Very, very good avant fusion..." Guitar Player Magazine Email: uh090@freenet.victoria.bc.ca ---------------- -= SPHERE OF INNOCENCE =- Allan Holdsworth, from _Wardenclyffe_Tower_ (Transcription by Elliot Freedman, August 1994) email: uh090@freenet.victoria.bc.ca -=Intro=- x x x x x---7 x---12 x---9 x---5 6 11 8 4 x-----9 RH x-----14 RH x----11 RH x----7 RH 6 11 7 4 4 9 5 2 G# C# A F# -=Head Chords=- (-=Pivot Chord=-) b_IV 12 7 9 4 x x x x x------13 8 x------11 x----------4 x----16 x x----14 x 14 11 12 7 x 9 x 5 E C# D A -=Lead Up=- x x x 7--------7 x-9-(9)---9 x x x x-----9 11 10 x--11------11 x 13 9 13 11 C# C# G# -=Climb=- b_VII x x 10 x 9------9 10------10 x x------12 7------(7) x x-------8 13 x------9 11------11 9 x 7------7 9 x 12 x x x 10 E F# A B D (-=Top Chord=-) -=Climax=- b_IX b_VII 12 14 16 9 x x x x x 7 13 16 x---17 x---9 7 11 14 15 x 7 9 10 11 12 x x x x 10 3 F# C C# D G -=Aftermath=- b_V 0 2 (2)--2 4------4 5 x---7 x---------0 (0) (0) x x x 1-------1 x---3 4 6 x 9 x---2 x x x x---9 LH x x-----2 4 6 6 7 9 0 (0) (0) 4 5 7 E B G# A G (-=Pause=-) b_XIV x---14 14 x------19 9 14 15 G -=Bridge=- b_VI b_IV x----9 6 x----9 4 x-----6 x x--------6 7-------7 4 x 11------11 x 6 x 8 x x x x x 11 x---9 8 7 5 9 x-----7 x 5 x C# B Bb A D -=Lead Up=- x x x 7--------7 x-9-(9)---9 x x x x-----9 11 10 x--11------11 x 13 9 13 11 C# C# G# -=Climb=- b_VII x x 10 x 9------9 10------10 x x------12 7------(7) x x-------8 13 x------9 11------11 9 x 7------7 9 x 12 x x x 10 E F# A B D F# (-=Top Chord=-) -=Climax=- b_IX b_VII 12 14 16 9 x x x x x 7 13 16 x---17 x---9 7 11 14 15 x 7 9 10 11 12 x x x x 10 3 A C C# D G -=Aftermath=- (-=Gliss?=-) b_V 0 2 (2)--2 4--------4 5 7 x---------0 (0) (0) x x x 1-------1 x---3 4 6 x 9 x---2 x x x x---9 LH x x-----2 4 6 6 7 9 0 (0) (0) 4 5 7 E B G# A B -=Head Chords=- (-=Mod. Pivot Chord=-) b_V 12 7 9 5 x x x x x------13 8 x------11 x----------5 x----16 x x----14 x 14 11 12 8 x 9 x 6 E C# D Bb -=A Different Path=- b_IX x------10 8 x----------------11--11 x x-------11 9----9---9---9-----------9 12 x 9----9---9 x x x------------13 14 11 11 12 9 9 A C# C# B (-=Expressively=-) -=Modulated Intro Chords=- b_VI b_I b_VI b_II x--9 x x 2 x x---4 x---9 2 6-----6 3 8 x 10------10 LH x------6 RH x------11 RH x 8 3 8 4 6 1 6 2 Bb F F Gb -=Modulated Head Chords=- b_VI 13 8 10 6 x x x x x--------14 9 x 6------6 x-----17 x x-------15 x 15 12 13 9 x 10 x 7 C D Bb B -=Lead Up=- x x x 7--------7 x-9-(9)---9 x x x x-----9 11 10 x--11------11 x 13 9 13 11 C# C# G# -=Climb=- b_VII x x 10 x 9------9 10------10 x x------12 7------(7) x x-------8 13 x------9 11------11 9 x 7------7 9 x 12 x x x 10 E F# A B D (-=Alternate Top Chord=-) 9 x 10 8 6 x Eb -=Keyboard Solo=- -=Guitar Solo=- -=Modulated Head Chords=- b_VI 13 8 10 6 x x x x x--------14 9 x 6------6 x-----17 x x-------15 x 15 12 13 9 x 10 x 7 F D Eb B -=Lead Up=- x x x 7--------7 x-9-(9)---9 x x x x-----9 11 10 x--11------11 x 13 9 13 11 F# C# G# -=Climb=- b_VII x x 10 x 9------9 10------10 x x------12 7------(7) x x-------8 13 x------9 11------11 9 x 7------7 9 x 12 x x x 10 E F# A B D (-=Top Chord=-) -=Climax=- b_IX b_VII 12 14 16 9 x x x x x 7 13 16 x---17 x---9 7 11 14 15 x 7 9 10 11 12 x x x x 10 3 F# C Bb D G -=Aftermath=- b_V 0 2 (2)--2 4------4 5 x---7 x---------0 (0) (0) x x x 1-------1 x---3 4 6 x 9 x---2 x x x x---9 LH x x-----2 4 6 6 7 9 0 (0) (0) 4 5 7 E B G# A B (-=Pause=-) b_XIV x---14 14---------20 RH x------19--x 9 14 15 G -=Bridge-based Outro=- b_VI b_VI b_IV x----9 6 x----9 4 x x--------6 7 4 11------11 x 6 x x x x x 11 x---9 8 7 9 x-----7 6 5 C# B Bb A -=Outro=- b_III b_II x------6 x-------6 2 4 4 x 3 3 3 x x x-------6 5 4 2 3 x 0 G F# E ---------------- As to the makeup of the solo sections, I haven't transcribed them but note that they are preceeded by restful Lydian chords and that they are crafted of materials heard earlier in the tune -- the pedal points spaced liberally for maximum buildup of tension -- so that the intro and head themes can be charged triumphantly through. As far as the rest of the group's performance on this tune, what I particularily enjoy is Gary Husband's intricate cymbal work and almost melodic use of the tom-toms (bringing to mind his work on the _I.O.U._ album) fills, Jimmy Johnson's joint articulation of important themes (using different but related runs when quicker gestures are repeated, placing some bass notes up an octave, and varying his rooting of passages), and the way that Steve Hunt confidently takes his time soloing before Holdsworth himself roars through his obviously own changes. ----------------------------------------------------------------------- The Elliot Freedman Group (Debut CD now available!) Regentesselaan 160i, 2562 EG The Hague The Netherlands tel +31 70 3656263 email efg@vcn.bc.ca -----------------------------------------------------------------------
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