John Petrucci http://www.guitarworld.com/taxonomy/term/431/all en Dream Theater's John Petrucci Demos His Ernie Ball Music Man JP6 Guitar — Video http://www.guitarworld.com/dream-theaters-john-petrucci-demos-his-ernie-ball-music-man-jp6-guitar-video <!--paging_filter--><p>John Petrucci has a lot of Ernie Ball Music Man signature guitars to his, well, name.</p> <p>Today, we present a brand-new video that shows the Dream Theater guitarist demoing his signature JP6 model.</p> <p>For more information about this guitar, including photos and specs, visit <a href="http://www.music-man.com/instruments/guitars/john-petrucci.html">music-man.com.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/VNUdmkSnqdY" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dream-theaters-john-petrucci-demos-his-ernie-ball-music-man-jp6-guitar-video#comments Dream Theater Ernie Ball John Petrucci Music Man Videos Electric Guitars News Gear Tue, 19 May 2015 14:16:18 +0000 Guitar World Staff 24508 at http://www.guitarworld.com Setting Up John Petrucci's Ernie Ball Music Man JP15 Guitar — Time-Lapse Video http://www.guitarworld.com/setting-john-petruccis-ernie-ball-music-man-jp15-guitar-time-lapse-video <!--paging_filter--><p>"Check out this time lapse [video] of Maddi doing a string change on my JP15," wrote John Petrucci on his Facebook page about 19 hours ago (not that we're stalking him or anything).</p> <p>Below, check out a just-posted clip of Maddi, Petrucci's guitar tech, setting up and re-stringing the Dream Theater guitarist's signature Ernie Ball Music Man JP15.</p> <p>Enjoy!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/5TYk56xIhuk" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/setting-john-petruccis-ernie-ball-music-man-jp15-guitar-time-lapse-video#comments Dream Theater Ernie Ball John Petrucci Music Man Videos News Thu, 14 May 2015 16:16:27 +0000 Damian Fanelli 24471 at http://www.guitarworld.com John Petrucci Demos Signature Ernie Ball Music Man JP13 Guitar — Video http://www.guitarworld.com/john-petrucci-demos-signature-ernie-ball-music-man-jp13-guitar-video <!--paging_filter--><p>In this brand-new video below, Dream Theater guitarist John Petrucci walks you through the features of his Signature Ernie Ball Music Man JP13 guitar.</p> <p>Intrigued? Watch the video and visit <a href="http://www.music-man.com/instruments/guitars/jp13.html">music-man.com.</a></p> <p>Still intrigued? Watch <a href="http://www.guitarworld.com/node/24377">Petrucci's demo of the Ernie Ball Music Man JPBFR6 John Petrucci Ball Family Reserve guitar.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/omGrS_uNbmw" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/john-petrucci-demos-signature-ernie-ball-music-man-jp13-guitar-video#comments Dream Theater Ernie Ball John Petrucci Music Man Videos Electric Guitars News Gear Mon, 11 May 2015 19:48:04 +0000 Guitar World Staff 24442 at http://www.guitarworld.com John Petrucci Visits Guitar Center — Video http://www.guitarworld.com/john-petrucci-visits-guitar-center-video <!--paging_filter--><p>Dream Theater guitarist John Petrucci recently visited the Platinum Room at the Carle Place, New York, Guitar Center.</p> <p>During his visit, he discussed his musical beginnings, the genesis of his sound and his signature guitars with Ernie Ball Music Man. </p> <p>For more information on Petrucci's signature Music Man Majesty model, visit its page on <a href="http://www.music-man.com/instruments/guitars/the-majesty.html">music-man.com.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ao9JIdNXJ5Q" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/john-petrucci-visits-guitar-center-video#comments Dream Theater Ernie Ball Guitar Center John Petrucci Music Man Videos News Mon, 11 May 2015 16:13:22 +0000 Guitar World Staff 24437 at http://www.guitarworld.com John Petrucci Demos Signature Ernie Ball Music Man Majesty Guitar — Video http://www.guitarworld.com/john-petrucci-demos-signature-ernie-ball-music-man-majesty-guitar-video <!--paging_filter--><p>In this new video posted by <a href="https://www.youtube.com/channel/UC9Wd_EiD8gAly1qwF4OZSSA">Ernie Ball,</a> Dream Theater guitarist John Petrucci demos and discusses the John Petrucci Majesty electric guitar from Ernie Ball Music Man. </p> <p>"The Majesty guitar symbolizes the very reason why I am so proud to be a Music Man artist," Petrucci says. "I had the idea for this guitar a couple of years ago, but it is because of their innovative spirit and dedication to the art of guitar building that it is now a reality. </p> <p>"I am so grateful that I am able to collaborate with the best guitar company on the planet and so incredibly proud that together we have created what is to me, the perfect musical instrument for guitar players. I really hope you get a chance to play one and am confident that you will feel the same!"</p> <p>For more about the Majesty, visit <a href="http://www.music-man.com/instruments/guitars/the-majesty.html">music-man.com.</a></p> <p><strong>Ernie Ball Music Man Majesty Specs:</strong></p> <p>• <strong>Size:</strong> 6 string: 12" wide, 1-3/4" thick, 37" long (30.4 cm wide, 4.5 cm thick, 94.0 cm long) 7 String: 12" wide, 1-3/4" thick, 38" long (30.4 cm wide, 4.5 cm thick, 96.5 cm long)<br /> • <strong>Weight:</strong> 6 string: 6 lbs, 12 oz (3.06 kg) - varies slightly 7 String: 7 lbs, 8 oz (3.29 kg) - varies slightly<br /> • <strong>Body Wood:</strong> Basswood with maple top and mahogany through neck<br /> • <strong>Body Finish:</strong> Matte<br /> • <strong>Body Colors:</strong> Polar Noir, Glacial Frost, Iced Crimson, Siberian Sapphire, Arctic Dream, Copper Fire, Goldmine, Silver Lining<br /> • <strong>Bridge:</strong> Custom John Petrucci Music Man® Piezo floating tremolo, made of black pearl plated (chrome for Precious Metal Series), hardened steel with stainless steel saddles.<br /> • <strong>Scale Length:</strong> 25-1/2" (64.8 cm)<br /> • <strong>Neck Radius:</strong> 17" (43.2 cm)<br /> • <strong>Headstock Size:</strong> Angled &amp; Only 5-7/8" (14.9 cm) long<br /> • <strong>Frets:</strong> 24 - Medium Jumbo profile, Stainless Steel<br /> • <strong>Neck Width:</strong> 6 string: 1-11/16" (43.0 mm) at nut, 2-1/4" (57.2 mm) at last fret 7 String: 1-7/8" (47.6 mm) at nut, 2-7/16" (61.9 mm) at last fret<br /> • <strong>Neck Wood:</strong> Honduran Mahogany<br /> • <strong>Fingerboard:</strong> Ebony<br /> • <strong>Fret Markers:</strong> Custom JP Majesty Inlays<br /> • <strong>Neck Finish:</strong> Matte<br /> • <strong>Neck Colors:</strong> Color matches body<br /> • <strong>Tuning Machines:</strong> Schaller M6-IND locking with black pearl buttons (Chrome on Precious Metal Series)<br /> • <strong>Truss Rod:</strong> Adjustable - no component or string removal<br /> • <strong>Neck Attachment:</strong> Through neck design<br /> • <strong>Electronic Shielding:</strong> Graphite acrylic resin coated body cavity and aluminum control cover<br /> • <strong>Controls:</strong> Custom Music Man active preamp; push/push volume for gain boost, 500kohm push/push passive tone for custom 2 pickup configurations - .022µF tone capacitor<br /> • <strong>Switching:</strong> three-way toggle pickup selector, with custom center position configuration; three-way toggle piezo/magnetic selector, momentary mono/stereo output knob (Piezo Volume)<br /> • <strong>Pickups:</strong> HH - DiMarzio Illuminators; Piezo bridge pickup<br /> • <strong>Left Handed:</strong> No<br /> • <strong>Strings:</strong> 6 String: 10p-13p-17p-26-36-46 (RPS 10 Slinkys #2240) 7 String: 10p-13p-17p-26-36-46-56 (RPS 10 Slinkys #2240 with added P01156)</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/cnRrxk3vUks" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/john-petrucci-demos-signature-ernie-ball-music-man-majesty-guitar-video#comments Dream Theater Ernie Ball John Petrucci Music Man Videos Electric Guitars News Mon, 27 Apr 2015 16:44:13 +0000 Guitar World Staff 24393 at http://www.guitarworld.com John Petrucci Demos Ernie Ball Music Man JPBFR6 John Petrucci Ball Family Reserve Guitar — Video http://www.guitarworld.com/john-petrucci-demos-ernie-ball-music-man-jpbfr6-john-petrucci-ball-family-reserve-guitar-video <!--paging_filter--><p>In this brand-new video below, Dream Theater guitarist John Petrucci walks you through the features of the JPBFR6 John Petrucci Ball Family Reserve (BFR) guitar from Ernie Ball Music Man. </p> <p>Intrigued? Watch the video and visit <a href="http://www.music-man.com/instruments/guitars/john-petrucci-bfr.html">music-man.com.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/D0ib2j3LF48" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/john-petrucci-demos-ernie-ball-music-man-jpbfr6-john-petrucci-ball-family-reserve-guitar-video#comments Dream Theater Ernie Ball John Petrucci Music Man Videos News Gear Fri, 24 Apr 2015 16:09:38 +0000 Guitar World Staff 24377 at http://www.guitarworld.com Betcha Can't Play This: John Petrucci's Descending E Mixolydian Run http://www.guitarworld.com/betcha-cant-play-john-petruccis-descending-e-mixolydian-run <!--paging_filter--><p> This is a descending E Mixolydian [E F# G# A B C# D] run that moves across the strings and eventually down the neck in a cascading type of contour. </p> <p>It’s based on a recurring nine-note melodic motif of three 16th-note triplets, with three alternate-picked notes followed by two double pull-offs.</p> <p>I begin in ninth position with a fairly compact shape that spans the ninth to 12th frets. At the end of bar 1 and moving into bar 2, the fret hand shifts down two frets and spreads out to cover a four-fret span, from the seventh fret to the 11th. Use your first, second and fourth fingers to fret the notes. </p> <p> The fret hand quickly shifts down to a lower position at the beginning of bars 3, 4 and 5, so try to make these transitions as smooth and seamless as possible. Make sure your pull-offs are loud and clear, and use the palm of your pick hand to mute the unused lower strings during bars 1 and 2.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/fxKLaesuQE0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-02%20at%205.16.42%20PM.png" width="620" height="217" alt="Screen Shot 2014-04-02 at 5.16.42 PM.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/betcha-cant-play-john-petruccis-descending-e-mixolydian-run#comments Betcha Can't Play This John Petrucci September 2010 Videos Betcha Can't Play This Blogs News Lessons Magazine Thu, 23 Apr 2015 13:39:40 +0000 John Petrucci 20924 at http://www.guitarworld.com Romancing the Fretboard: Chopin Arranged for Guitar, Part 1 http://www.guitarworld.com/romancing-fretboard-chopin-arranged-guitar-part-1 <!--paging_filter--><p>Here's the first installment of Chopin's Piano Concerto in A minor, Opus No. 2. I've arranged it for guitar, and as you can see, it's not for the meek. </p> <p>But if you've been diligently practicing the chromatic exercises from my past few lessons, you should be ready to tackle it.</p> <p>This etude is an excellent study in the use of chromatic tones in a melody. I've included chord symbols above the staff to give you an idea of the melody's harmonic context. These chord symbols reflect the basic underlying harmony originally provided by the left hand part on the piano. </p> <p>Studying classical music, especially pieces from the Romantic period such as this, will give you serious insight into how to use chromatic passages in a composition or improvisation and have them make sense.</p> <p>You might be wondering, how the hell can you use this chromatic stuff in a rock song? All you have to do is listen to some Dream Theater tunes for the answer. </p> <p>For example, "Caught in a Web" has an extended chromatic passage [see the complete transcription in the Jan. '95 issue of Guitar School-Ed.]. The chromatic scale offers great material for writing cool riffs, but, more importantly, it gives you options for smoothly weaving in and out of a key center.</p> <p><img src="http://www.guitarworld.com/files/JPchopin1.gif" /><br /> <img src="http://www.guitarworld.com/files/JPchopin2.gif" /><br /> <img src="http://www.guitarworld.com/files/JPchopin3.gif" /><br /> <img src="http://www.guitarworld.com/files/JPchopin4.gif" /><br /> <img src="http://www.guitarworld.com/files/JPchopin5.gif" /><br /> <img src="http://www.guitarworld.com/files/JPchopin6.gif" /></p> <p>After playing this piece for a while, you should be able to pick up a few chromatic ideas to apply to your own solos. You'll start to see how you don't have to be tied to a particular scale or fingering pattern-you'll feel more comfortable playing notes that are out of the key center. </p> <p>And by intelligently applying chromatic notes to your lines, such as using them as passing tones to connect chord tones that fall on the strong beats, they can become more original-sounding while still retaining harmonic logic. Of course, you can just play random chromatic lines all over the place, but that's a different, more atonal style of music.</p> <p><strong>Here are a few performance tips:</strong></p> <p>Notice that there are quite a few position changes. As such, the left-hand fingerings have to be arranged to make shifting positions as easy as possible. That's why, though the music may be the same (as in measures 1-2 and 5-6), the tablature is different on the repeat (use the tablature on the bottom the second time through). Carefully follow the left-hand fingerings provided beneath the tablature-these are the ones that I use.</p> <p>My arrangement is just for the melody line, but since this is a piano piece, it was originally written so the left hand would play chords and the right hand would play the melody. To truly appreciate the richness and depth of Chopin's melodic and harmonic style, you might want to record yourself strumming the chord changes (or have a friend play them) while you play the melody.</p> <p>Chopin was a master of melody, harmony and voice leading--the art of smoothly moving from chord to chord. Though the melody of this piece is mostly chromatic, notice how he targets a chord tone on the first 16th note of each beat. Let's look at the first measure: although it's written using an ascending chromatic scale starting on A, notice how, when the chord changes from Am to Dm, the melody lands on F, which is the third of Dm. Over the E7 chord in the third measure, Chopin targets the third of that chord (G#). If you follow along, you can see other prominent examples of this harmonic device, such as targeting the lowered fifth of F7b5 (B) and the lowered seventh of B7 (A). This is what I referred to earlier as the logic of writing chromatic lines. This should give you plenty to work with. Next time, Part 2!</p> <p><strong>This column originally appeared in <em>Guitar World</em> as part of John Petrucci's "Wild Stringdom" column.</strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/romancing-fretboard-chopin-arranged-guitar-part-1#comments Dream Theater John Petrucci Blogs News Features Lessons Magazine Mon, 06 Apr 2015 12:14:58 +0000 John Petrucci 14929 at http://www.guitarworld.com Wild Stringdom with John Petrucci: Visualizing Melodic Shapes on the Fretboard http://www.guitarworld.com/wild-stringdom-john-petrucci-visualizing-melodic-shapes-fretboard <!--paging_filter--><p>This month, I’d like to delve deeper into concepts for expanding scalar ideas across the fretboard. </p> <p>As in the previous columns, I’ll demonstrate how to move diagonally across the fretboard to connect scale positions, an approach that I employ to a great extent to play melodic phrases and solos. </p> <p>Let’s start with a series of phrases that are all based on the E Aeolian mode, or E natural minor scale (E F# G A B C D). <strong>FIGURE 1</strong> details a series of three different three-note phrases, each played in a three-notes-per-string pattern and starting with the index finger. I begin in seventh position and play through the first six notes of E Aeolian. </p> <p>In bar 2, I shift up to ninth position and play a six-note pattern that begins on the fifth degree of E Aeolian, B, sounding the notes B C D E F# G. Finally, I move up to 11th position to play a six-note pattern beginning on the second, or ninth, F#, sounding the notes F# G A B C D. </p> <p> The high D at the end of the phrase is useful, because it can easily be bent up one whole step to the E root. By connecting all three patterns this way, I am moving up the fretboard in a diagonal path that covers a lot of range. </p> <p> A great way to practice this pattern is within a steady series of eighth-note triplets, as seen in <strong>FIGURE 2</strong>. Use alternate (down-up) picking throughout, and strive to make the position shifts seamless. Once you have these “shapes” for each six-note group under your fingers, you should be able to move freely from the A string to the D and G and back, using just your ear to guide the melodic phrases you create.</p> <p> Within the first six-note phrase, we have the notes of an E minor triad: E G B. Now let’s look at how we can apply notes from this series to create different chord types. In <strong>FIGURE 3</strong>, I demonstrate voicings of Em, Esus2 and another “wide-stretch” Em voicing from the notes found in this pattern. I can then play melodic fills based on it. </p> <p> <strong>FIGURE 4 </strong> offers a more expanded example of this concept. I’ll often use this approach to create chordmelody-type ideas, such as that shown in <strong>FIGURE 5</strong>. Here, I’m using the open low E note as a pedal tone played against various two-note chords. I also like incorporating the ninth, F#, into Em voicings, resulting in the wide-stretch Em(add9) shapes shown in <strong>FIGURE 6.</strong> </p> <p> <strong>FIGURE 7</strong> puts a twist on this idea by adding the second, also F#, to an E minor triad, E G B. Lastly, I use note combinations from the pattern to create a series of two-note chords that live in E Aeolian, as demonstrated in <strong>FIGURE 8.</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/APity4lRWgs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-10%20at%202.09.53%20PM.png" width="580" height="604" alt="Screen Shot 2014-04-10 at 2.09.53 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-10%20at%202.10.09%20PM.png" width="580" height="334" alt="Screen Shot 2014-04-10 at 2.10.09 PM.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/wild-stringdom-john-petrucci-visualizing-melodic-shapes-fretboard#comments Dream Theater January 2014 John Petrucci Wild Stringdom Artist Lessons Videos Blogs News Lessons Magazine Wed, 11 Mar 2015 15:04:33 +0000 John Petrucci 19912 at http://www.guitarworld.com Dream Theater's John Petrucci Shreds on 'That Metal Show' — Video http://www.guitarworld.com/dream-theaters-john-petrucci-shreds-metal-show-video <!--paging_filter--><p>Over the Oscars- (and snow-) filled weekend, Dream Theater guitarist John Petrucci made his debut appearance on <em>That Metal Show</em>.</p> <p>You can check out a pro-shot clip of Petrucci's shred-packed performance, a highlight of the series' Season 14 debut episode, below.</p> <p> You'll notice that the on-stage onlookers include Rush frontman Geddy Lee. As he admits in the show, Petrucci has always been a huge fan of Rush; he even brought in his old Rush-themed denim jacket from when he was a kid. (You can watch the full episode below.)</p> <p><a href="http://www.guitarworld.com/john-petrucci-and-rushs-geddy-lee-booked-metal-show-season-14-premiere">As we reported earlier,</a> Season 14 of <em>That Metal Show</em> consists of (a total of) 12 new episodes and will be shot at Metropolis Studios in New York City Tuesday nights for broadcast the following Saturday on VH1 Classic. Audience tickets for upcoming tapings are available via <a href="http://gothamcasting.com/gothamrsvp/">Gotham Casting.</a> </p> <p>Upcoming guests will be announced in the near future.</p> <p> Season 14 marks the return of several fun segments, including “Metal Modem,” “TMS Top 5,” “Rank” and “Take It or Leave It.” The “Stump the Trunk” segment, where audience members go out of their way to test host Eddie Trunk’s knowledge, is also returning for the new season.</p> <p>Fans can watch previous episodes and other bonus clips at <a href="http://www.vh1.com/shows/that_metal_show/series.jhtml">ThatMetalShow.VH1.com</a> and on the new VH1 app.</p> <p>For more information about <em>That Metal Show</em>, visit <a href="http://www.vh1.com/music/tuner/category/vh1-classic/">vh1.com</a> and follow <em>That Metal Show</em> on <a href="https://www.facebook.com/thatmetalshow">Facebook.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/9M3l2qom3xU" frameborder="0" allowfullscreen></iframe></p> <p><iframe src="http://media.mtvnservices.com/embed/mgid:uma:videolist:vh1.com:1734357/cp~instance%3Dfullepisode%26autoPlay%3Dfalse%26id%3D1734357%26uri%3Dmgid%3Auma%3Avideolist%3Avh1.com%3A1734357" width="620" height="365" frameborder="0"></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dream-theaters-john-petrucci-shreds-metal-show-video#comments John Petrucci Videos News Sun, 22 Feb 2015 19:02:12 +0000 Guitar World Staff 23568 at http://www.guitarworld.com Review: Ernie Ball/Music Man John Petrucci Signature Majesty Guitar — Video http://www.guitarworld.com/review-ernie-ballmusic-man-majesty-guitar-video <!--paging_filter--><p>Electric guitars are often compared to cars, but one important distinction is that car design continues to progress across the board, while guitar design, with a few notable exceptions, seems predominantly stuck in bygone eras. </p> <p>While only a handful of people still use a 1957 Corvette or 1985 IROC Z as a daily driver, most guitarists are content to play instruments with designs that haven’t changed much, if at all, since the Fifties or Eighties. </p> <p>The Ernie Ball/Music Man Majesty, designed in collaboration with Dream Theater guitarist John Petrucci, is a refreshingly modern instrument that is the electric guitar equivalent of a 2015 Aston Martin Vanquish—a stylish, luxurious, high-performance ax that completely elevates the playing experience.</p> <p><strong>FEATURES:</strong> The Majesty may look like a standard dual-humbucker, tremolo-equipped shred machine, but it boasts an abundance of refinements and versatile features. </p> <p>In addition to its pair of DiMarzio Illuminator humbuckers, the Majesty is equipped with piezo pickups under the saddles of the floating tremolo bridge that produce acoustic-like tones and textures. The uncomplicated but versatile switching system consists of push pots and a pair of recessed three-position toggle switches that provide instant access to a wide variety of electric and piezo tones, as well as a preamp that boosts gain, and mono or stereo output. </p> <p>Controls consist of master volume, master tone and piezo volume. Trim pots mounted on the rear of the guitar allow users to adjust the active preamp’s maximum gain boost, mix levels of the magnetic and piezo pickups, and fine tune the piezo pickups’ treble and bass response. </p> <p>The sleek lines and sexy contours of the Majesty’s body shape aren’t just for show, as the extended bass-cutaway horn delivers outstanding balance and the deep treble cutaway provides completely unobstructed access all the way up to the 24th fret. </p> <p>The guitar features a neck-through-body design consisting of a basswood body with a maple top and a Honduran mahogany neck with a 25 1/2–inch scale, ebony fretboard and 24 medium jumbo stainless-steel frets. The saddles on the custom floating tremolo are stainless steel as well, and the locking Schaller M6-IND tuners and angled headstock keep the tuning stable even after aggressive tremolo use. Intonation is accurate up and down the neck, thanks to Music Man’s patented compensated nut.</p> <p><strong>PERFORMANCE:</strong> I wasn’t kidding when I compared the Music Man Majesty to the latest Aston Martin Vanquish. The first time I played it was as thrilling as taking a high-performance sports car for a test drive. The guitar is outrageously comfortable in both sitting and standing positions, and the slim neck profile, combined with the neck-through-body construction and deep treble cutaway, makes it easy to play anywhere on the neck. I was particularly surprised by how comfortable it was to play between the 20th and 24th frets, a section of the neck I rarely venture to, as it usually feels cramped and confining. </p> <p> The Majesty’s crisp, articulate tone starts with its Ernie Ball RPS 10 Slinky strings and ends with its brilliant electronics. Thanks to its basswood, maple and mahogany tone-wood combination, the Majesty’s inherent acoustic tone is quite vibrant, resonant and lively, which results in surprisingly convincing acoustic flattop-style tones when the piezo pickup is engaged. </p> <p>Those qualities translate exceptionally well to the DiMarzio Illuminator humbuckers as well, which capture dynamic nuances in fine detail. I was particularly surprised by how clean and detailed fast licks sounded on the Majesty, especially when those same licks played on other guitars sound sloppy to me—proof that great tools can result in improved musicianship.</p> <p><strong>CHEAT SHEET</strong><br /> <strong>LIST PRICE</strong> $3,500<br /> <strong>MANUFACTURER</strong> Music Man, <a href="http://www.music-man.com/">music-man.com</a></p> <p>Piezo pickups mounted under the stainless-steel saddles of the custom floating tremolo provide natural acoustic tones in addition to traditional humbucker/split-coil tones.</p> <p>A wide variety of tones are quickly accessible thanks to push knobs and a pair of recessed three-way toggle switches. </p> <p><strong>THE BOTTOM LINE:</strong> With its slim, sexy feel, stealthy good looks and versatile but uncomplicated switching, the Music Man Majesty is the guitar industry equivalent of a modern high-performance supercar.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/5cCq4qbgqJw" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/review-ernie-ballmusic-man-majesty-guitar-video#comments Ernie Ball Holiday 2014 John Petrucci Music Man NAMM 2015 Videos Electric Guitars News Gear Magazine Thu, 15 Jan 2015 18:12:17 +0000 Chris Gill, Video by Paul Riario 22768 at http://www.guitarworld.com Dream Theater's John Petrucci Performs Judas Priest Song with His Wife's Band, Judas Priestess http://www.guitarworld.com/dream-theaters-john-petrucci-performs-judas-priest-song-his-wifes-band-judas-priestess <!--paging_filter--><p>Everyone eventually sits in with their spouse's Judas Priest cover band—and Dream Theater guitarist John Petrucci is no different!</p> <p>Below, watch Petrucci perform Judas Priest's "Beyond the Realms of Death" with Judas Priestess, a tribute band that features his wife, Rena Sands, on guitar. </p> <p>Of course, Judas Priestess is an all-female band; before this gig, Sands played guitar with Meanstreak, another all-female metal band. </p> <p>The performance was shot December 6, 2014, at Club Revolution in Amityville, New York. That's on Long Island, for all you non-New Yorkers!</p> <p>Note that Sands' guitar solo starts at 3:20; Petrucci's solo starts at 6:10 (Note: These times refer to the top video only). Enjoy!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/R3O6f2OMSvA" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Mqr5iTxfqtE" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/judas-priest">Judas Priest</a> </div> <div class="field-item even"> <a href="/john-petrucci">John Petrucci</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dream-theaters-john-petrucci-performs-judas-priest-song-his-wifes-band-judas-priestess#comments John Petrucci Judas Priest Judas Priestess Rena Sands Videos News Wed, 07 Jan 2015 15:49:22 +0000 Damian Fanelli 23234 at http://www.guitarworld.com Guitar World Year in Review: The Top 10 Guitar Lessons of 2014 http://www.guitarworld.com/guitar-world-year-review-top-10-guitar-lessons-2014 <!--paging_filter--><p>With 2015 about to kick in (in, like, just a few hours), <em>Guitar World</em> is taking a nostalgic look back at the most popular GuitarWorld.com stories of 2014, including viral videos, guitar lessons and other features. </p> <p><strong><A href="http://www.guitarworld.com/tags/year-end-2014">Be sure to check out our other 2014 Year in Review stories HERE!</a></strong></p> <p>Today, we're revisiting the 10 most popular guitar lessons on GuitarWorld.com, as determined by page views. </p> <p>Even though it's a best-of piece, you'll still find a fine assortment of useful lessons here—everything from Betcha Can't Play This videos by Marty Friedman and Dream Theater's John Petrucci, not to mention two lessons by Steve Stine of LessonFace. There are some wordy pieces in here, which are balanced out nicely by a few very quick-hit video lessons. But you probably won't be able to miss the fact that our 2014 list is dominated by Petrucci, who happens to be a natural teacher!</p> <p>Remember you can read the complete lessons by clicking on the <strong>READ THE FULL LESSON HERE</strong> link at the bottom of each page. Also note that, just because these were our top 10 lessons of 2014, several of them were actually posted prior to 2014 (like the Friedman video, for instance). </p> <p>Anyway, see you in 2015! Remember to practice! We're serious!</p> <p><strong><a href="http://www.guitarworld.com/betcha-cant-play-marty-friedman-explores-phrygian-dominant-mode">10. Betcha Can't Play This: Marty Friedman Explores the Phrygian-Dominant Mode</a> by Marty Friedman</strong></p> <p>Here's a fast one one that mostly uses the Phrygian-dominant mode. It’s in the key of C. I start with a C power chord as a pickup to the first bar. Sometimes I like to include another fifth below the chord itself.</p> <p>This brings out overtones that give the illusion of a lower root note, especially when you’re using heavy distortion. Even though the tempo marking is shown as "Freely," the lick is meant to be played as fast as you can. </p> <p>So in bar 1, I ease into it by starting off relatively slow and move into full speed by the third beat, sort of what it would sound like if a snowball started rolling down a steep hill and got larger and faster on the way down. I like the Phrygian-dominant mode because of its exotic Eastern flavor; you can also think of it as a harmonic minor scale, which in this case would be in the key of F and starts on the fifth scale degree (C). </p> <p>Notice how I play most of bar 1 legato—there’s nothing wrong with making it easy on yourself. At the end of bar 1 going into bar 2, I go into a series of five sextuplet patterns that gradually descend the neck. The fretboard shapes are a bit more familiar—the first two are minor (C minor and Bb minor), the third is major with an added #4—Ab(#4)—and the last two return to minor (F minor and C minor).</p> <p>“By the time I get to the third bar, the C minor tonality is firmly established and I riff all the way through until the last beat, where I downward sweep a quick F#• arpeggio (I upstroke the seventh at the end). I use this to lead into the end, which is a bluesy run based on C9 and incorporates the very familiar blues box pattern.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/rkFo4ni3iRU?list=PL198C391437BDEA9D" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/marty%20620%20new.jpg" width="620" height="295" alt="marty 620 new.jpg" /></p> <p><strong><a href="http://www.guitarworld.com/betcha-cant-play-marty-friedman-explores-phrygian-dominant-mode">READ THE FULL LESSON HERE.</a></strong></p> <hr /> <p><strong><a href="http://www.guitarworld.com/wild-stringdom-john-petrucci-moving-across-fretboard-unusual-ways-produce-unique-runs">09. Wild Stringdom with John Petrucci: Moving Across the Fretboard in Unusual Ways to Produce Unique Runs</a> by John Petrucci</strong></p> <p>Over the years, people have noticed that when I play certain runs, my fingers move in the opposite direction of the notes that they hear.</p> <p>For example, as my fret hand moves up the fretboard, the sequence of notes that is heard descends (and vice versa). For this month’s column, I’ve put together a few runs that demonstrate this unusual approach as applied to both ascending and descending patterns.</p> <p>This kind of “positional wizardry” can be used to generate interesting melodic patterns that can be used in a variety of ways. </p> <p> In <strong>FIGURE 1</strong>, I begin on the low E string in a high fretboard position and end on a high string in a lower position. The run is based on the A Aeolian mode (A B C D E F G), which is also known as the A natural minor scale and is intervallically spelled 1 2 b3 4 5 b6 b7. </p> <p> The overall concept behind this line is a consistent progression of six-note groups, or “cells,” that move to different areas of the fretboard while remaining diatonic to (within the scale structure of) A Aeolian. The run is played in a rhythm of even 16th notes, which, due to its inherent four-note grouping, results in a more unusual melodic “shape” than if I had played the pattern in a triplet or sextuplet rhythm. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/JiLny-evDUM" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/01_3.png" width="620" height="448" alt="01_3.png" /></p> <p><strong><a href="http://www.guitarworld.com/wild-stringdom-john-petrucci-moving-across-fretboard-unusual-ways-produce-unique-runs">READ THE FULL LESSON HERE.</a></strong></p> <hr /> <p><strong><a href="http://www.guitarworld.com/soloing-strategies-randy-rhoads-scales-blues-licks-and-daring-chromatic-maneuvers">08. Soloing Strategies: Randy Rhoads' Scales, Blues Licks and Daring Chromatic Maneuvers</a> by Tom Kolb</strong></p> <p>In the world of heavy metal, hot guitarists are a dime a dozen. </p> <p>Yet only a precious few stand the test of time and become enduring guitar gods. </p> <p>Randy Rhoads was one such player. Joining forces with singer Ozzy Osbourne in 1979, Rhoads burst onto the metal scene like a bolt from the blue. </p> <p>He was blessed with dazzling chops and an innate comprehension of music theory, and his style had a perfect blend of flash and melodic structure. </p> <p>Flowing legato sections segued to impossibly fast, palm-muted picking passages; incendiary trills and daring chromatic maneuvers coexisted with classically influenced melodies—all of which were derived from a seemingly inexhaustible supply of scales and arpeggios and laid out across an ever-shifting rhythmic landscape. </p> <p>What's more, Rhoads was so precise that he could seamlessly double-track anything he played, for maximum sonic density.</p> <p>Sadly, only three recordings&mdash;<em>Blizzard of Ozz, Diary of a Madman, </em>and <em>Tribute</em>&mdash;captured Rhoads' genius before a tragic airplane crash, in 1982, cut his life short. But the musicianship that lies within those grooves is as stunning and inspirational today as it was then.</p> <p><strong>Sequences and Scales</strong></p> <p>Rhoads would often sprinkle a solo with a flurry of pentatonic pull-offs such as those in <strong>Fig.1</strong>. Built from the A minor pentatonic scale (A-C-D-E-G), this lick is inspired both by the opening moments of the first solo in "Mr. Crowley" and by the fill just before the last verse of "I Don't Know." It's interesting to note that while Rhoads possessed the facility to rip through lines such as these using alternate picking, he often chose a legato approach for a smoother, more flowing outcome.</p> <p><img src="http://dl.guitarworld.com/rrss1.jpg" width="620" /></p> <p><strong><a href="http://www.guitarworld.com/soloing-strategies-randy-rhoads-scales-blues-licks-and-daring-chromatic-maneuvers">READ THE FULL LESSON HERE.</a></strong></p> <hr /> <p><strong><a href="http://www.guitarworld.com/three-steps-shred-fundamental-daily-practice-techniques-about-15-minutes">07. Three Steps to Shred: Fundamental Daily Practice Techniques in About 15 Minutes</a> by Steve Stine</strong></p> <p>No matter your level of experience, being a guitarist involves pushing your personal boundaries with the instrument. </p> <p>Many players find themselves struggling to develop the physical abilities needed to play like their heroes, and, crucially, they never settle on a consistent set of exercises because they find themselves drowning in so many different suggestions. </p> <p>In this column and video, I discuss some straightforward, essential practice techniques you can work into a simple, short daily routine to improve your dexterity, speed, strength and stamina to help you overcome obstacles and become a better guitar player.</p> <p>These practice techniques are broken into three sections: 01. <strong>Picking hand</strong>: two three-minute exercises; 02. <strong>Fretting hand</strong>: a series of 15- or 20-second strength exercises; and 03. <strong>Both hands</strong>: a symmetrical exercise emphasizing synchronization between the left and right hands. </p> <p>All in all, these exercises should take about 15 minutes. My students have found that, when done faithfully and properly, they yield significant positive results. Please note that it's a good idea to stretch out your hands, wrists and arms for a few minutes before doing these exercises. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/3TGDIOT6c0A" frameborder="0" allowfullscreen></iframe></p> <p><strong><a href="http://www.guitarworld.com/three-steps-shred-fundamental-daily-practice-techniques-about-15-minutes">READ THE FULL LESSON HERE</a></strong>.</p> <hr /> <p><strong><a href="http://www.guitarworld.com/guitar-strength-seven-habits-will-make-you-better-guitarist?page=0,0">06. Guitar Strength: Seven Habits That Will Make You a Better Guitarist</a> by Scott Marano</strong></p> <p>Like the headline says, here are seven habits — habits you'll need to get into — that will, simply put, make you a better guitarist.</p> <p>01. <strong>Visualize</strong>: You don’t just have to practice when there’s a guitar in your hands. There’s plenty of time in the day being wasted that you can use to improve your playing. Whenever you have a spare few seconds to daydream or are zoning out in class or at a meeting or waiting in line at the DMV, etc., use the time to go inside your mind’s eye and ears and visualize yourself perfectly executing the lick, riff or song you’ve been working on.</p> <p>See and hear yourself playing the part with an expert ease, gliding as one with the strings, “virtually” feeling your fingers and your pick in precise synchronization. Repeat this whenever you can and you’ll find you’re better than you were before the last time you picked up the guitar and that the experience of the real guitar in your hands is enriched for the process.</p> <p>An added bonus of this is that when you get better at connecting the disparate experiences of the imagined and the real, you’ll find that the accuracy of translating what you hear in your head through your fingers to the fretboard will significantly improve, as will your ability to transcribe things you hear while away from your guitar (if nothing else, you’ll be floored at how realistic your air guitar playing will be!).</p> <p>02. <strong>Learn Something New Every Day</strong>: This is one of the easiest things you can do to enrich your guitar playing, musicianship and, most importantly, your discipline and motivation. Simply put, find one guitar-related thing a day that you didn’t know already and learn it. And play it. It can be a riff, a lick, a chord, a scale, an exercise, a song, a melody, an altered tuning, a strum pattern, the part of a song you know all of the cool riffs of but never bothered to learn the “boring” connecting transition sections of, whatever. </p> <p>The discipline of seeking out, playing and internalizing a new piece of guitar knowledge on a daily basis will feed your subconscious musical instincts, add new concepts to your muscle memory and ultimately aid in your ability to express yourself and perform effortlessly on the guitar.</p> <p>Make this a part of your day and you’ll find that as you continue on your journey, one thing will become two, then three, and on and on until you are devouring as much as you can absorb on the guitar, every day!</p> <p><strong><a href="http://www.guitarworld.com/guitar-strength-seven-habits-will-make-you-better-guitarist?page=0,0">READ THE FULL LESSON HERE.</a></strong></p> <hr /> <p><strong><a href="http://www.guitarworld.com/big-strokes-beginners-guide-sweeping">05. Big Strokes: A Beginner's Guide to Sweep Picking</a> by Charlie Griffiths</strong></p> <p>Although often regarded as a “shredder’s” technique, the notion of sweeping (or raking) the pick across the strings to produce a quick succession of notes has been around since the invention of the pick itself. </p> <p>Jazz players from the Fifties, such as Les Paul, Barney Kessel and Tal Farlow, would use the approach in their improvisations, and country guitar genius Chet Atkins was known to eschew his signature fingerstyle hybrid-picking technique from time to time and rip out sweep-picked arpeggios, proving that the technique is not genre specific. </p> <p>Within rock, Ritchie Blackmore used sweep picking to play arpeggios in Deep Purple’s “April” and Rainbow’s “Kill the King.”</p> <p>Fusion maestro Frank Gambale is widely considered to be the most versatile and innovative sweep picker and the first artist to fully integrate the technique into his style, applying sweeping to arpeggios, pentatonics, heptatonic (seven-note) scales and modes, and beyond. </p> <p>Gambale explains his approach wonderfully in his instructional video, <em>Monster Licks and Speed Picking</em>. Originally released in 1988, it remains a must-watch video for anyone interested in developing a smooth sweep-picking technique.</p> <p>It was Stockholm, Sweden, however that would produce the name most synonymous with sweeping in a rock context, one that gave rise to a guitar movement known as neoclassical heavy metal. </p> <p>Swedish guitar virtuoso Yngwie Malmsteen was influenced by Jimi Hendrix, Ritchie Blackmore and Uli Jon Roth but was also equally enthralled by 19th-century virtuoso violinist Niccolò Paganini. Attempting to emulate on his Fender Stratocaster the fluid, breathtaking passages Paganini would compose and play on violin, Malmsteen concluded that sweep picking was the perfect way to travel quickly from string to string with a smooth, fluid sound much like what a violinist can create with his bow. </p> <p>Malmsteen’s style has since influenced two generations of guitarists, including Tony MacAlpine, Jason Becker, Steve Vai, Mattias “IA” Eklundh, Ritchie Kotzen, Marty Friedman, John Petrucci, Vinnie Moore, Jeff Loomis, Synyster Gates, Alexi Laiho and Tosin Abasi, to name but a few.</p> <p>The first five exercises in this lesson are designed to give you a systematic approach to practicing the component movements of sweep picking: from two-string sweeps to six-string sweeps, and everything in between. Practicing each exercise with a metronome for just two minutes every day will improve your coordination and your confidence to use the technique in your own playing. </p> <p>Work from two strings up to six, keeping your metronome at the same tempo. This means starting with eighth notes, and while this will feel very slow, the technique will become trickier with each successive note grouping: eighth-note triplets, 16th notes, quintuplets and, most difficult of all, 16th-note triplets and their equivalent sextuplets. </p> <p>Focus on synchronizing your hands so that your pick and fretting fingers make contact with the string at exactly the same moment. Only one string should be fretted at any time (this is key!), and any idle strings should be diligently muted with your remaining fingers. </p> <p>If you fail to do this and allow notes on adjacent strings to ring together, it will negate the desired effect and sound like you are simply strumming a chord. When it comes to sweep picking, muting is the key to cleanliness. It is also the aspect that will take the most practice to master.</p> <p>The second set of five exercises handles some common sweep-picking approaches. These are shown in one position and based on one chord type each, thus focusing your attention on the exercise until you have become accustomed to the technique. </p> <p>The final piece helps you tackle the various aspects of sweeping while bolstering your stamina, as the bulk of it consists of nonstop 16th notes, with only a few pauses for “breathing.” Break it down into four-bar sections and practice each with a metronome, gradually building up to the 100-beats-per-minute (100bpm) target tempo. </p> <p><strong>Get the Tone</strong></p> <p>In rock, this technique is best suited to Strat-style guitars, using the neck pickup setting for a warm, round tone. Use a modern tube amp with the gain set to a moderate amount—just enough to give all the notes a uniform volume and sustain, but not so much that string muting becomes an impossible battle. </p> <p>The thickness and sharpness of your pick will hugely impact the tone of your sweep picking. Something with a thickness between one and two millimeters and a rounded tip will provide the right amount of attack and still glide over the strings with ease.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_1_2.jpg" /></p> <p><strong><a href="http://www.guitarworld.com/big-strokes-beginners-guide-sweeping">READ THE FULL LESSON HERE.</a></strong></p> <hr /> <p><strong><A href="http://www.guitarworld.com/betcha-cant-play-john-petruccis-descending-e-mixolydian-run">04. Betcha Can't Play This: John Petrucci's Descending E Mixolydian Run</a> by John Petrucci</strong></p> <p>This is a descending E Mixolydian [E F# G# A B C# D] run that moves across the strings and eventually down the neck in a cascading type of contour. </p> <p>It’s based on a recurring nine-note melodic motif of three 16th-note triplets, with three alternate-picked notes followed by two double pull-offs.</p> <p>I begin in ninth position with a fairly compact shape that spans the ninth to 12th frets. At the end of bar 1 and moving into bar 2, the fret hand shifts down two frets and spreads out to cover a four-fret span, from the seventh fret to the 11th. Use your first, second and fourth fingers to fret the notes. </p> <p> The fret hand quickly shifts down to a lower position at the beginning of bars 3, 4 and 5, so try to make these transitions as smooth and seamless as possible. Make sure your pull-offs are loud and clear, and use the palm of your pick hand to mute the unused lower strings during bars 1 and 2.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/fxKLaesuQE0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-02%20at%205.16.42%20PM.png" width="620" height="217" alt="Screen Shot 2014-04-02 at 5.16.42 PM.png" /></p> <p><strong><A href="http://www.guitarworld.com/betcha-cant-play-john-petruccis-descending-e-mixolydian-run">READ THE FULL LESSON HERE.</a></strong></p> <hr /> <p><strong><a href="http://www.guitarworld.com/wild-stringdom-john-petrucci-using-triad-arpeggios-imply-more-complex-chord-qualities">03. Wild Stringdom with John Petrucci: Using Triad Arpeggios to Imply More Complex Chord Qualities</a> by John Petrucci </strong></p> <p>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. </p> <p>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 or one-chord vamp over which you want to superimpose shifting harmonic colors.</p> <p> Let’s begin by outlining, and then combining, simple major and minor triads. <strong>FIGURES 1 and 2</strong> illustrate the notes of a G major triad—G B D—played in seventh position. The relative minor triad of G major is E minor, and <strong>FIGURE 3</strong> depicts an E minor triad played in the same position. Notice that both triads share two of the same notes, G and B.</p> <p> The “magic” happens when we combine these two triads, and we can utilize and analyze the resulting sound within either a G major or an E minor context. <strong>FIGURE 4</strong> shows the two triads combined, so in essence we’ve simply added the E note to the G major triad. </p> <p>Adding E, the sixth of G, implies the sound of a G6 chord. If we play the same pattern over an E minor tonality, the resultant chordal implication is Em7, as shown in <strong>FIGURE 5</strong>, and the single-note triadic-based phrases evoke a different harmonic impression.</p> <p> Let’s now apply this approach to a different tonal center. As shown in <strong>FIGURES 6 and 7</strong>, the combination of the notes of a C major triad—C E G—and an A minor triad—A C E—result in either a C6 sound, as shown in <strong>FIGURE 6</strong>, or an Am7 sound, as shown in <strong>FIGURE 7</strong>. The beauty of this exercise is that it demonstrates how the study of one theoretical concept and its associated single-note patterns can easily be applied to more than one tonal environment. </p> <p>On a grand scale, this means that the study of one idea can be applied to many different harmonic environments, yielding a broader understanding of music theory as well as heightening one’s fretboard awareness. </p> <p>Another great way to use this concept is to combine two different triads that are found within the same tonal center. For example, within the G major scale (G A B C D E F#), one can build a series of seven different triads by starting from each note in the scale and adding thirds above the starting note while remaining diatonic to (within the scale structure of) G major. If we start from B, the third degree of the G major scale, a B minor triad is formed by playing B D F#, notes that<br /> are all thirds apart, as they occur within the G major. </p> <p><strong>FIGURE 8</strong> illustrates a phrase that combines G major and B minor triads. We can then apply this approach to the relative minor of G, Em7, as shown in <strong>FIGURE 9</strong>. When looked at as a whole, combining G major and B minor triads implies a Gmaj13 chord, as shown in <strong>FIGURE 10.</strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/X6LFTobJ7F4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-24%20at%202.49.42%20PM.png" width="620" height="677" alt="Screen Shot 2014-04-24 at 2.49.42 PM.png" /></p> <p><strong><a href="http://www.guitarworld.com/wild-stringdom-john-petrucci-using-triad-arpeggios-imply-more-complex-chord-qualities">READ THE FULL LESSON HERE.</a></strong></p> <hr /> <p><strong><a href="http://www.guitarworld.com/essential-blues-basics-soloing-combined-minormajor-pentatonic-scales">02. Essential Blues Basics: Soloing with the Combined Minor/Major Pentatonic Scales</a> by Steve Stine</strong></p> <p><strong>Steve Stine, highly sought-after guitar educator, teaches live group and private classes at <a href="https://www.lessonface.com/">LessonFace.com.</a></strong></p> <p>One key to becoming a more versatile blues soloist is learning to combine the minor pentatonic and major pentatonic scales to create guitar lines that go beyond the minor pentatonic scale. </p> <p>As a prerequisite to this lesson, you should have a basic understanding of the finger positionings for the minor pentatonic and major pentatonic scales, particularly the first and second positions of both scales. </p> <p>Stepping back, I should note that learning to play within both of these scales at the same time opened new doors for me as a guitar player. </p> <p>Before combining them, I remember first learning to solo over the standard 1-4-5 blues progression, and my teacher at the time gave me a quick trick for alternating between the minor and major pentatonic solos: Use the minor pentatonic for the sections on the “1” and the major pentatonic for the sections on the “4," and alternate back in forth in this manner in the way that sounded best. </p> <p>While this approach can work to give you a more varied sound beyond merely the minor pentatonic scale, this trick is by no means a hard and fast rule, and moving beyond it to learn to combine both scales makes you a more versatile player.</p> <p>A quick point of reference to understand about these scales is that, in respect to physical finger positioning, they are identical, with one scale simply falling three frets below the other on the fretboard. That is to say, in any given key: (i) the finger position for the major pentatonic scale falls three frets down from the minor pentatonic scale, and (ii) the root note is the same for both scales.</p> <p>So, for example, let’s focus on the key of A. The A on the fifth fret of the first string is the root note of both the A minor pentatonic and A major pentatonic scales. This means that, in the A minor pentatonic scale’s first position, the A on the fifth fret of the first string is played with your index finger. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/J9sAhJvG76I" frameborder="0" allowfullscreen></iframe></p> <p><strong><a href="http://www.guitarworld.com/essential-blues-basics-soloing-combined-minormajor-pentatonic-scales">READ THE FULL LESSON HERE</a>.</strong></p> <hr /> <p><strong><a href="http://www.guitarworld.com/scale-will-change-your-life">01. The Scale That Will Change Your Life</a> by Adrian Galysh</strong></p> <p>A number of years ago, I was teaching at a guitar workshop in Pittsburgh. </p> <p>I had taught at this annual workshop a number of times and always looked forward to my week there, not only because I was able to teach a class of students who really wanted to learn guitar, but also for more selfish reasons. I liked meeting and learning from some of the other instructors and clinicians. </p> <p>So during this week, jazz guitarist Henry Johnson and I were jamming on each other's guitars, and I took the opportunity to ask him, "Hey, how can I, as a rock guitarist, get that 'outside' jazzy/Alan Holdsworth-y sound?" </p> <p>His answer was so simple and astonishing. I will share it with you here.</p> <p>He said, "Simply flatten the root of the minor pentatonic scale. Use this whenever you would use the normal minor pentatonic scale."</p> <p>The concept was simple but profound. I spent a few days getting the new shape under my fingers, and before I knew it, I was slipping this into every solo I could! </p> <p>The example below shows the new altered A-minor pentatonic scale. In this A-minor example, this "flattened root scale" sounds outside over Am or an A7 chord, but inside over the dominant V chord (E7).</p> <p><img src="/files/imce-images/Galysh_-_The_Scale_That_Will_Change_Your_Life.jpg" width="620" height="175" alt="Galysh_-_The_Scale_That_Will_Change_Your_Life.jpg" /></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/5hknSMFlIVI" frameborder="0" allowfullscreen></iframe></p> <p><strong><a href="http://www.guitarworld.com/scale-will-change-your-life">READ THE FULL LESSON HERE.</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/marty-friedman">Marty Friedman</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitar-world-year-review-top-10-guitar-lessons-2014#comments John Petrucci Year End 2014 News Lessons Wed, 31 Dec 2014 18:27:57 +0000 Guitar World Staff 23204 at http://www.guitarworld.com Sterling by Music Man Previews New JP60-MGR John Petrucci Guitar http://www.guitarworld.com/sterling-music-man-previews-new-jp60-mgr-john-petrucci-guitar <!--paging_filter--><p>If you read the <a href="http://forums.ernieball.com/music-man-guitars/60084-sbmm-new-2015-preview-jp60-mystic-green.html">Ernie Ball forum</a>, you'll already have noticed the company has sort of announced the new Sterling by Music Man JP60-MGR guitar.</p> <p>If not, check out the recent post about the new John Petrucci model right here:</p> <p>"Here's a quick preview of the new-for-2015 JP60-MGR: Mystic Green finish!</p> <p>"It's our first SBMM 'Chameleon' finish, and was selected by JP himself earlier this year between DT tours. Needless to say, it's probably our most requested finish since day one, and we searched high and low for something that could be our counterpart to EBMM's Mystic Dream finish. John personally selected this out of several samples we sent him.</p> <p>"This finish will only be available on JP60, and will be hitting stores in late January. $619 USA Street Price!</p> <p>"I'll be unveiling the entire New for 2015 SBMM lineup right here on the forum from now through New Year's."</p> <p>Stay tuned for more. Again, remember the Winter NAMM Show is coming up!</p> <p><img src="/files/imce-images/620%20version.jpg" width="620" height="432" alt="620 version.jpg" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/sterling-music-man-previews-new-jp60-mgr-john-petrucci-guitar#comments Dream Theater John Petrucci Sterling by Music Man Electric Guitars News Gear Fri, 19 Dec 2014 18:53:06 +0000 Damian Fanelli 23154 at http://www.guitarworld.com Wild Stringdom with John Petrucci: Recognizing Repetitive Fretboard Shapes on All String Groups http://www.guitarworld.com/wild-stringdom-john-petrucci-recognizing-repetitive-fretboard-shapes-all-string-groups <!--paging_filter--><p>Hello, and welcome to my new <em>Guitar World</em> instructional column. </p> <p>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. </p> <p>I have found such patterns to be very useful for both melodic and shred-style playing and also very helpful in regard to the “greater mission,” which is to gain a fuller and deeper understanding of the construction of musical ideas within the framework of the guitar’s fretboard. </p> <p>The following examples are built from phrases made up of three notes per string that are played across two strings, resulting in various six-note shapes. I play these shapes in a rhythm of straight 16th notes, however, so there is an inherent “threes on twos” kind of rhythm that is alluded to throughout. </p> <p>All of the phrases in this lesson are based on the E natural minor scale (E F# G A B C D), also known as the E Aeolian mode. </p> <p>In <strong>FIGURE 1</strong>, using alternate (down-up-downup) picking throughout, I ascend the D and G strings, beginning on the note E on the D string’s second fret, fretted with the index finger. I follow with two more notes on the D string, fretted with the ring finger and pinkie, and then I move over to the G string and play three ascending notes fretted in exactly the same manner—index to ring to pinkie.</p> <p>On the upbeat of beat two, I shift up to the next fretboard position of E natural minor and use my index finger, middle finger and pinkie to sound three notes per string on the D and G strings. A third six-note shape then appears when we move up one more time, with the index finger, middle finger and pinkie employed for the wider stretch needed for the subsequent pair of three-note shapes.</p> <p>Notice that, as you ascend through this riff, there are slight variances in the shapes used on each specific string in order to accommodate the notes of E natural minor. If we move the idea down to the bottom two strings, as shown in <strong>FIGURE 2</strong>, we find that the same fretting shapes are used, albeit in a different sequence. </p> <p>And the same is true when we move the idea up to the top two strings, as illustrated in <strong>FIGURE 3</strong>. Only three different physical shapes are used to form the three-note patterns, and this is good, because it enables one to develop muscle memory in the fret-hand, which is immeasurably beneficial.</p> <p>The only exception to this consistency of shapes occurs when playing similar patterns on the G and B strings. That’s because these two strings are tuned a major third apart, whereas the adjacent strings in the other pairs are tuned a perfect fourth apart. </p> <p>As shown in <strong>FIGURE 4</strong>, one must move up an additional half step—one fret—when crossing from the G string to the B. <strong>FIGURE 5</strong> offers a clearer representation of this B-string shift within a longer example that moves across all of the strings. Once you have these shapes under your fingers, experiment with moving them to every area of the fretboard, and then transpose the patterns to all 12 keys.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-13%20at%2011.10.34%20AM.png" width="620" height="530" alt="Screen Shot 2014-03-13 at 11.10.34 AM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-13%20at%2011.10.45%20AM.png" width="620" height="305" alt="Screen Shot 2014-03-13 at 11.10.45 AM.png" /></p> <p><strong>PART ONE</strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/e3qIi5FA7AQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>PART TWO</strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience2717386885001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="2717386885001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/wild-stringdom-john-petrucci-recognizing-repetitive-fretboard-shapes-all-string-groups#comments December 2013 Dream Theater John Petrucci Wild Stringdom Blogs News Lessons Magazine Wed, 17 Dec 2014 19:10:28 +0000 John Petrucci 19402 at http://www.guitarworld.com