Using open strings is a great way to add texture and atmosphere to any chord progression. By adding open strings to even the simplest chords, you can create voicings that sound sophisticated, but are really easy (and fun) to play. They're practical, not intimidating, and most certainly don't sound like "jazz chords."
Dream Theater's upcoming studio album now has a name. The band's 13th album, which is due in early 2016 via Roadrunner, will be called The Astonishing. John Petrucci and company have been working on the followup to 2013's Dream Theater since January at Cove City Sound Studios in Glen Cove, New York.
What, exactly, is a headphone song? The definition changes depending on who you are. For audiophiles, a headphone song—or album—is a work that is so exquisite that it demands you listen to each beautifully recorded note under a sonic microscope. Miles Davis’ "Kind of Blue" fits that bill, the song and the album.
Practice tips from John Petrucci: Say to yourself, “During this hour I’m going to master this passage.” There’s nothing wrong with noodling—it can actually produce some of the best ideas—but you’ll get a lot more out of your practice time if you have an agenda.
I often use triadic arpeggio forms within my riffs and solos as a tool to create rich-sounding, poly-chordal sounds. I’d like to continue in that vein by presenting different ways in which to move from one arpeggio form to another, using a series of specific triads that complement one another well.
Hello, and welcome to my new Guitar World instructional column. In the coming months, I’ll share with you some of the guitar-playing concepts and approaches that have helped me develop my technique and overall playing style. I’d like to start off with an examination of ascending scalar shapes that, by design, cover the majority of the fretboard.
Look around you. There seems to be a seven-string renaissance happening at the moment. Actually, eight-string guitars seem to be going pretty strong, too. But there's something particularly satisfying about plugging in a seven and riffing out in between the traditional ranges of the guitar and bass.
This month, I’m going to demonstrate how one can utilize simple triadic shapes and patterns in order to imply more complex and varied chord qualities. I find this to be a very cool and useful improvisational tool, because you can apply it to playing over either a chord progression that you want to outline melodically or over a static pedal tone.