Dear Guitar Hero: Dream Theater’s John Petrucci

He’s been prog-metal’s preeminent shredder for the last 15 years, but what Guitar World readers really want to know is...

I’ve been a longtime Dream Theater fan but the new album steps it up to a new level. Congrats, and what did you do differently?
—Jason A. King, Columbia, IL

Thanks. We wrote the last two albums in the studio and recorded the songs as soon as we finished writing them. This time, we went back to holding writing sessions and rehearsal periods where we cranked up the amps and let it rip, rather than sat there with headphones on and worried about our parts. That helped us craft more dramatic, less-experimental material, the kind of stuff that’s always the most fun to play live and which crowds respond to best. I wanted every song to have that energy. We also tried not to over-record and keep the arrangements cleaner so there’s more breathing room In the songs. Guitar-wise, I wanted to have more intense soloing and over-the-top parts while keeping the songs structured and melodic and lyrically strong.

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I loved your solo performances on the G3 tour two years ago. Will you ever release that material?
—Jesus Vargas, Hidalgo, TX

I’m working on a solo album right now that includes those songs. Hopefully, it will have a 2004 release.

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If you could be any superhero, who would you be, and why?
—Josh Catlett, Louisville, KY

Superman, because I like the way he could fly around the earth and turn back time. I want more practice time!

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How do you do those awesome high-to-low sweeps in “Under a Glass Moon”?
—Dave, Scarborough, Ontario, Canada

I focus on two elements to make those sound good. First, I really separate the notes with my fretting hand so they don’t ring out like a chord. I use some alternate chord shapes that help with this. Second, I drag the pick from one string to the next using the hand’s momentum. That way, I’m not actually picking the individual strings but rather pulling the pick up against the string.

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Did being a guitar teacher affect your playing? And what do you feel makes a person a good guitar teacher?
—John Strange, Long Island, NY

Yes, it did affect my playing: it forced me to stay on top of my musical theory and learn songs and techniques that I wasn’t interested in, but which my students wanted to learn. A good guitar teacher will create an individual plan for each student rather than expect everyone to fall into his overall method.

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What do you use to get that great, distinct distortion sound? And do you have any thoughts on acoustic simulation gear?
—Russ Addison, Galliano, LA

My distortion usually comes from the amp. On Train of Thought, I used a Mesa/Boogie Road King, which has a very cool liquidy overdrive that also lends itself to clarity and separation of notes. For acoustic simulation, the Fishman piezo system in my Music Man signature guitar sounds so good that I’ve recorded with it. It’s very convenient and allows you to switch back and forth and blend sounds.

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Most guitarists go through a phase in which they learn other people’s material note for note. What did you master this way, and do you still do it now that your playing has reached such a high level?
—Wouter Ectors, via email

Of course I did it. I learned by figuring out stuff like Steve Morse’s “Introduction,” the Dixie Dregs’ “The Bash,” Randy Rhoads’ solo on “Over the Mountain” and tons of stuff by Yngwie, Al DiMeola, Allan Holdsworth, Steve Vai and Joe Satriani. Working on other people’s solos always gives you fresh perspectives and develops your ear, which is why I still do it. It’s always good to challenge yourself. That way you don’t get to a point where you’ve learned enough and say, “That’s it.”

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Let’s cut to the chase: how can I improve my speed?
—Max Pigault. Maplewood, NJ

There are a few different ways. First is the tried-and-true metronome method, in which you play a phrase slowly 10 times, then increase the metronome’s speed and play it 10 times again, and so on. The key is to make sure you can play the part at speed before moving on to the next level. The second method is to simply practice a lick over and over at varying speeds, without ever stopping. The third way is to break a lick into tiny fragments and master each at a high speed until you have the whole thing down pat.

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Does [Dream Theater bassist] John Myung ever talk?
—Anonymous

I understand your confusion; to most people John is certainly a man of few words. But I’ve known him my whole life and we’ve had some of the lengthiest, deepest conversations I’ve ever had with anyone.