Before Dream Theater took off I used to teach a lot, and one of the things my students often asked me was how to apply the chromatic scale to practical playing situations. You see, their other teachers would give them chromatic warm-up exercises without providing any explanation of how important and versatile this scale actually is. For the next few months, I'd like to show you how to use the chromatic scale, not just as a tool to build chops but as a melodic device to add color to your playing.
In the media-happy world the Internet has created, most musicians are fairly careful about what they say in the public forum, especially towards other bands. It's not that all bands get along and all musicians truly respect one another, but it's just much easier to not air that kind of dirty laundry in public.
If you missed Dream Theater on their first run of North American dates in support of their new album, A Dramatic Turn of Events, they'll be giving you another chance to catch them on their current touring cycle. You can get all the dates for Dream Theater's 2012 summer tour below.
Last month, TC Electronic officially released the new John Petrucci Dreamscape Signature TonePrint Pedal, the first custom pedal to capture the Dream Theater guitarist's signature tones in one small package.
Here's a video of Dream Theater guitarist John Petrucci playing and discussing Ernie Ball's new Cobalt guitar strings. Ernie Ball recently announced the new line of electric bass and guitar strings, which is made out of cobalt, the most magnetically active material. Ernie Ball's patent pending advancement in technology stems from a nine-year pursuit in researching materials that give guitarists and bassists a new-and-improved voice.
Well, gang, here it is: the final installment of Chopin's Piano Concerto in A minor, Opus No. 2. Those of you who have braved the storm of 16th notes over the past two columns have earned the right to pat yourselves on the back. You're going to get a bit of a reprieve this time, because, at the beginning of this section, Chopin restates the first six bars of the piece and then adds bars 15-17 of the opening section for good measure (use my column Romancing the Fretboard, Part 1 as a reference).