John petrucci solos

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John Petrucci

American musician

Musical artist

John Peter Petrucci (born July 12, ) is an American guitarist, composer and producer. He is best known as a founding member of the progressive metal band Dream Theater. He produced or co-produced (often with former member Mike Portnoy before he departed the band in ) all of Dream Theater's albums from Metropolis Pt. 2: Scenes from a Memory () to Distance Over Time (), and has been the sole producer of the band's albums released since A Dramatic Turn of Events (). Petrucci has also released two solo albums: Suspended Animation () and Terminal Velocity ().

Early life and influences[edit]

John Peter Petrucci was born on July 12, , in Kings Park, New York, to an Italian American family. He picked up the guitar at around the age of eight because his older sister was allowed to go to bed later in order to practice the organ. However, he decided to quit the guitar when his attempts to stay up late were unsuccessful. He picked up the guitar again at the age of Petrucci has said he committed to practicing guitar six hours a day when he discovered it was his passion. His early influences were bands like Led Zeppelin, Black Sabbath, AC/DC, and later developed an interest in progressive rock and heavy metal, exemplified by Rush, Yes, Iron Maiden, Dixie Dregs and Metallica.[1][2]


Eventually, his childhood friend and future Dream Theater keyboardist Kevin Moore invited Petrucci to join his cover band. Petrucci attended Berklee College of Music in Boston with childhood friend John Myung (bass), where they met future bandmate Mike Portnoy (drums). While in Berklee they often covered two of their biggest influences, Iron Maiden and Rush. These three, in addition to Kevin Moore, formed the band Majesty. Because there was already another band with the same name, the group later became Dream Theater.

While Petrucci is most commonly associated with Dream Theater, he is also in the project band Liquid Tension Experiment, and has appeared as a guest on records by other artists, such as the Age of Impact album by the Explorer's Club.

Petrucci has released a guitar instructional video, Rock Discipline, which covers warm-up exercises, exercises to avoid injury while playing, alternate picking, sweep picking, chords and other techniques for developing one's guitar playing. Petrucci also has a book named "Guitar World presents John Petrucci's Wild Stringdom", which was compiled from columns he wrote for Guitar World magazine under that title.

In , Joe Satriani and Steve Vai invited Petrucci to tour with them on the popular G3 guitar tour, which exposed him to a massive number of new fans and inspired a solo album. The album, Suspended Animation, was released on March 1, , and was available for order from his web site. Petrucci also appeared on the and G3 tours, and in , went on G3 tour again, this time with Paul Gilbert and Joe Satriani. In a video with Larry DiMarzio, Petrucci announced that he is working on a follow-up to his album, Suspended Animation and a new Dream Theater album.[3]

Petrucci also wrote and recorded two instrumental soundtrack songs for a Sega Saturn game titled Digital Pinball: Necronomicon. Each track is roughly two minutes long, and are named simply Prologue and Epilogue. In a spoof rock band, Nightmare Cinema (which was the Dream Theater members changing instruments for encores), he used the "alternate stage name" Johnny James.

In , Petrucci was invited once again to join Joe Satriani on the G3 tour, along with Steve Morse. He was accompanied by bassist Dave LaRue and drummer and Dream Theater bandmate Mike Mangini.

Dream Theater bandmate Jordan Rudess revealed in an interview that Petrucci is a practicing Catholic and Petrucci himself told about it in a Dream Theater Q&A session with DreamTheaterForums.[4][5]

In , Petrucci joined Joe Satriani on the G3 tour. They were accompanied by Uli Jon Roth on the European leg of the tour, and Phil Collen in North America. His second solo album, titled Terminal Velocity was released in [6]

Musical style[edit]

Guitar technique[edit]

Petrucci is respected for his variety of guitar styles and skills. One of the most notable of these is his high-speed alternate picking which, as he himself claims, requires a "strong sense of synchronization between the two [playing] hands." He is notable for frequent use of the seven-string electric guitar, which he says he uses as a writing tool, taking advantage of the extended range for heavier riffing and to play extended range runs as part of a solo. Moreover, Petrucci often combines his metal shredding technique with a slower, emotive soloing style. His influences as a guitarist include Jimmy Page,[7]Brian May,[7]Eddie Van Halen,[7]Steve Morse, Al Di Meola, Steve Howe, Allan Holdsworth, Stevie Ray Vaughan, Randy Rhoads, Joe Satriani, Steve Vai, Alex Lifeson, Yngwie Malmsteen and David Gilmour.[2][8]


Petrucci is Dream Theater's most prolific lyricist, with each album including at least three songs featuring his lyrics. Some of Petrucci's notable songs include "Metropolis, Pt. 1: The Miracle and the Sleeper", "The Spirit Carries On", "The Great Debate", "In the Presence of Enemies", and "Through Her Eyes". Petrucci has occasionally used real-life experiences for lyrical inspiration, as heard in songs such as "The Count of Tuscany", "A Nightmare to Remember" and "Endless Sacrifice".


Petrucci has acted as a backing vocalist live since the Awake Tour. He is a baritone, producing a sound darker than that of James LaBrie's tenor voice. He has also written vocal melodies for Dream Theater. Petrucci's role as a vocalist expanded following the departure of Mike Portnoy, who had been Dream Theater's primary backing vocalist and occasionally even shared lead vocals with LaBrie. In live performances, he now replicates some vocal parts originally sung by Portnoy, with others being recorded samples.

Accolades and praise[edit]

Regarded as "one of the most celebrated guitarists alive" by Premier Guitar,[9] Petrucci has performed as the third guitarist on the G3 tour seven times, more than any other invited guitarist. In their article "John Petrucci: The Ultimate Evolved Guitarist",[10] Premier Guitar calls Petrucci "one of the best who's ever laid a hand on a fretboard".[11] He was voted "Best Prog guitarist" by The Prog Magazine[12] and the "Greatest Guitarist" by Burrn magazine[13] and Mariskalrock.[14]Guitar World magazine lists Petrucci among the "Fastest Guitarists of All Time"[15] and calls him "the most celebrated and popular guitarist in the world of progressive metal" and "arguably the most versatile and proficient player in his realm, with a highly developed melodic sense and an alternate picking technique that is virtually untouchable as far as speed and precision", while also ranking him among the top 5 "Best Guitarists of the Decade".[16]

In , Petrucci won the SENA Performers European Award.[17]Joel McIver's book The Greatest Metal Guitarists ranks Petrucci second, after Dave Mustaine.[18] He was also named as one of the "Top 10 Greatest Guitar Shredders of All Time" by GuitarOne magazine.[19] In , Petrucci was ranked the 17th greatest guitarist of all time by a Guitar World magazine reader's poll.[20] According to Forbes, the Ernie Ball-Music Man John Petrucci JP6 is the second-best-selling signature model of all time, behind only the Gibson Les Paul, which isn't technically an artist signature model.[21]


Petrucci is a long-time user of Music Man JP and Majesty series guitars and Mesa/Boogie amplifiers. While his pedalboard, controller, effects and overdrives have undergone changes over the years, the core of Petrucci's guitar sound remains Dimarzio pickups and Mesa/Boogie amplifiers. Most recently the signature JP-2C amplifier based on the Mark IIC+ series and other Mark and Rectifier series amplifiers, such as during the recording of Train of Thought.[22][23][24]

A number of brands have released signature guitar equipment designed or endorsed by Petrucci:

  • Ibanez released the first John Petrucci signature guitars, made from to
  • Dimarzio have produced several pickups designed in collaboration with Petrucci
  • Ernie Ball Music Man (USA) began producing John Petrucci signature guitars in and have made numerous models bearing his name since.
  • Dunlop produce John Petrucci signature guitar picks including the Jazz III and flow
  • Dunlop Guitar straps
  • TC Electronic released the Dreamscape John Petrucci signature modulation pedal in

At the beginning of two new releases were announced: the Dunlop John Petrucci signature Cry-Baby wah, and the Mesa/Boogie JP-2C John Petrucci head, a three-channel amplifier which is available both as a stand-alone amp head and as a rack-mounted amp head, and differs from other Mesa/Boogie Mark series amps in that it features two separate graphic EQs, midi controllable and channel assignable, "Shred" circuit and "pull" functionality on several settings resulting in increased versatility.[25]

Personal life[edit]

Petrucci lives in St. James, New York with his wife Rena Sands, a guitarist in the all-female heavy metal band Meanstreak, and they have three children. He is the uncle of Jake Bowen, a guitarist in the progressive metal band Periphery.

Petrucci is an avid fan of bodybuilding and dedicates much of his off time to weight training. He is a voting member of NARAS.[26]


Solo albums[edit]

With Dream Theater - Studio albums[edit]

Main article: Dream Theater discography

With Liquid Tension Experiment[edit]

With G3[edit]

With Jordan Rudess[edit]

As a guest[edit]



Images and Words: Live in TokyoFirst Dream Theater live DVD. Includes extended version of "Take the Time."
Rock Discipline – VHS John Petrucci does a DVD on guitar warmups, tricks, exercises, and his gear.
5 Years in a LIVEtimeThe only live Dream Theater DVD with Derek Sherinian.
Metropolis Scenes From New York
Rock Discipline – DVD
Live at Budokan
G3: Live in Tokyo
Score2DVD's recorded at Radio City Music Hall on April 1, New York, US Celebrating Dream Theater's 20th Anniversary. They performed this concert with a symphony orchestra.
Chaos in Progress: The Making of Systematic ChaosDVD included in the special edition of Systematic Chaos
Chaos in Motion –Released September 30, Documents the band's / Chaos in Motion and Progressive Nation tours.
Live at Luna Park
Breaking the Fourth Wall2DVD's recorded live at the Boston Opera House on March 25, , released on September 29, on CD, DVD, and Blu-ray.


External links[edit]


John Petrucci: “People don’t want any old noodling thing that they’ll fast-forward; your solos need to give them something that’s part of the composition”

As a guitarist, Dream Theater founder John Petrucci exists in a class of his own. To mark the release of the band’s 14th opus, he explains more about the formidable techniques that have made his presence known the world over…

“Now definitely feels like an exciting time for progressive metal,” says John Petrucci, grinning from behind his beard while sitting in one of the many rooms in the mazes of Dream Theater’s major label office.

“When we started, that whole scene didn’t exist,” he continues. “We just got together and started writing this way because we liked Iron Maiden and Metallica as well as Rush and Yes, that’s why we ended up putting it all together”

Three-and-a-half decades since their formation (although the guitarist is too modest to admit it himself) the world of progressive music owes them a debt. They’ve been filling arenas with uncompromising music and attracting a formidable fanbase of musicians, inspiring countless others to create music as rich in classical sophistication as it is in heavy metal thunder.

Throughout the years, their prog-man has remained one of the world’s most admired - the kind of player able to offset mechanical precision with human emotion in remarkable ways that few have ever come close to. Here, he explains the techniques and tones behind the quintet’s tour de force 14th full-length album, Distance Over Time

One of this album’s major strengths is the odd-metered riffs and the groove they have; what’s the secret to making that combination work so well?

It’s always easier playing with a drummer. If you’re cranked up and stood next to someone behind a kit, you can feel each other

“For me, it’s always easier playing with a drummer. If you’re cranked up and stood next to someone behind a kit, you can feel each other a lot better. You can recognise the nicer grooves a lot quicker. Sometimes you can really get into the weeds if you’re by yourself and working hyper technical things out, maybe programming drums or whatever, and that leaves you a little disconnected from the roots and primal aspect of it. When there’s a drummer right there with you, even if they play something that’s in an odd-time, you can feel how they’re moving based on all the inflections and syncopation. 

“For example, the song S2N starts with this riff on the bass that is so typical of John Myung, where he comes in with something that nobody understands. But he doesn’t understand what he’s doing either ha ha! We had to slowly dissect it and learn it together. It even took our drummer Mike Mangini a long time to hear it in a way that made sense. It’s so quirky and in an odd-time, but still there’s something about it that just grooves and swings.”

The solo in that song ends with a lick that moves up chromatically, almost in a Steve Vai way

“You’re right to mention Steve Vai there… that’s totally out of his book! In that solo, there’s a crescendo fairly early on. So I started thinking about where could I go from there, and realised doing something really outside to create tension was the best place to go. Because what else are you going to do? Play more notes?! There should always be some sort of conclusion or climax to your solos.”

Staccato style

Opening track Untethered Angel has some quick-fire staccato bursts halfway through. For someone approaching that kind of technique, how should they look to develop it tightly and precisely?

“This is all about groove and syncopation. If you stick on a metronome, there’s a steady 4/4 pulse behind it, so slow it down and build up your 16th notes like that. It’s a lot easier to get the co-ordination right first - I’ve always said this throughout my career - and then you slowly build the speed up.

“But feeling it right first is key - you need 33 to know where the notes land in respect to the downbeat. That’s how you get the accent right where it’s meant to be.”

Like many of your leads, it seamlessly switches through major scale modes, harmonic minor, diminished and chromatic ideas. What drives that kind of blending for you?

You need to give them something that’s part of the composition. Your solos should be as interesting as any other part of the song

“I never know if anyone notices all these things - so thank you I have to relearn what I played for the live shows, by the way! I recorded the Untethered Angel solo and then Jordan put down his piano part around it. He carved out his part to support the harmony I was using, which made me sound really smart - but actually on that one, the chords came after! 

“I weave through different scales and we adjust the chords to work. When I listen back to a solo, I always think it needs to stay exciting and contribute to the song in a way that helps the listener. People don’t want just any old noodling thing that they’ll fast-forward; you need to give them something that’s part of the composition.

“Your solos should be as interesting as any other part of the song. It’s not an opportunity to shred… okay, sometimes it is! Look at solos more like a compositional opportunity, like watching a movie. No-one wants a dead-boring scene; it has to push the story forward.”

How much time do you spend mapping out every possible scale you can use over each chord?

“Mapping out what scales you can use on every chord is a great technique, if you want to know more about what the options are, but I tend to approach things more melodically. I have those options somewhere in my subconscious, but instead of making a list, I pull out the melody I want to hear most.”

Fall Into The Light ends with a wide-interval, open-string pull-off motif that feels almost more like keyboards in its sense of phrasing

“It makes things more interesting melodically when you use intervals like that. You can imply chords that aren’t necessarily there. Instead of the stock traditional root, 3rd and 5th, you can spread your tones apart.

“Everything I play, I always ask myself, ‘Have I heard that before?’ and if the answer is ‘Yes’, I’ll try it another way that still sounds like me in a different way to any solo before. Experimenting with your spread of intervals is a good way to do that.

“The open string also creates some dissonance, especially with half-step stuff going on there, but there’s this pedal tone. That’s a few techniques rolled into one… at the time I was thinking of what the song needed and how I could drive it home!”

Barstool breakout

Barstool Warrior certainly has a lot of sweep picking

“There’s a lot of that in there. I make things up based on the melody of the song. I’ll notice how I can spread my notes out onto one per string and then sweep through. Look at the notes you are playing and think about how they might work played in different positions on other strings. That’s a big part of my approach; I’m always thinking how else I could play each part.

Try eighth-note sweeps - I’ve seen so many people trip up because they’re used to only going fast

“As for my sweeping, there are two parts. The first is separating the notes you play, which is your left-hand technique. If you are just doing it with your right hand and the left-hand notes are ringing into each other, it will sound more like a chord.

“The second thing, and this is the hard part, is making the notes fall in actual time. When you rake, it’s easy to do it in one motion and hard to go against deliberate time. Try eighth-note sweeps - I’ve seen so many people trip up because they’re used to only going fast… it’s actually a lot harder.”

What advice can you offer players who, having gained a lot of technical proficiency, find it hard to decelerate and play with feel?

“You can approach the guitar like a voice. That’s the best way of looking at it. If you are singing, you can’t keep going a million miles an hour. You can only fit so many syllables in, so think about what you can sing through your guitar.

“Players like David Gilmour and Neal Schon are great at that kind of thing. The solo in Comfortably Numb is so memorable, you can sing along to it. The other part of it is your technique as a guitarist. Once you are in that zone, hanging on notes and doing slow bends, there are so many things that can go wrong. You can bend out of tune - so technique is very important, just like it is when a singer hits flat. That really hurts your ears! So apply the same thinking into your vibrato and bends… that’s when you are exposed.

“If you are playing a very well-known melody live and you hit a note just a half-step from where it should be, it’s so much more noticeable compared to a crazy passage that goes by super-fast. Something like the intro to Another Day from Images And Words needs to be perfect. Believe me, I’ve messed it up before and it’s really no fun. You have to be careful, because playing slower involves a different kind of focus.”

Taming the shred beast

The bluesier passages in Room , S2N and At Wit’s End definitely show you know how to tame the shred beast within

“‘How to tame the shred beast within’ I really like that, haha! You know, it’s all about variation. When you’re playing in a certain style, with a certain technique, people feel different things. In more complex music, something more bluesy and soulful can really pull the listener in - so you need to know how to switch gears. Don’t just take one road to get to your final destination; change it up as you play and that will always make things so much more interesting. 

I was blown away jamming with Joe Satriani every night. His whole approach is based on feel

“The same goes in reverse, for example, if you play mainly blues and then stick in this sick, crazy lick that’s really going to stand out! Before recording these solos, I’d been on four months of G3, as well as my Guitar Universe camp, jamming with some of the greatest players in the world. I can tell you now, I was pumped up, I was ready!”

What have you learned from all those experiences with other guitar legends?

“Honestly, it’s one thing to listen to someone and then another to actually play with them and interact. I was blown away jamming with Joe Satriani every night. His whole approach is based on feel; he has attitude, melody and technique coming out of this crazy imagination. It seeps into you!

“And then at the camp, I had so many great players like Guthrie Govan, Andy James, Tosin Abasi, Jason Richardson, Al Di Meola… such different players, but they’ve all rubbed off on me somehow. You can’t help it. If you are a good listener and open to learning, then it’s gonna happen.”

If you were taking requests at a clinic, what would be the most punishing song in your repertoire that you could get asked to play?

“There’s one that’s especially hard… The Glass Prison! Jordan (Rudess) was playing this keyboard line that I copied on guitar and I’ve been kicking myself hard ever since because it’s so difficult to play. These arpeggios go by so fast and there are a few different techniques you can use, from alternate picking and hybrid through to sweeps, it’s one of the hardest things to play right there on the spot. I’ve seen footage of people playing it on YouTube… I bow down and am very jealous! It really is quite the challenge.”

There are a lot of harmonies mirrored in Jordan’s keyboards during your rhythm parts, as well as guitar overdubs for the leads. What’s the best way of constructing these adjacent lines?

“Harmonies can sound very typical and boring on songs that use straight harmonies. And, in fact, there’s a lot more you can do if you don’t stick to just one interval. Using only 3rds will sound a certain way, but a combination of 3rds, 4ths and 5ths while also displacing the octaves can make for a really interesting sound. 

“Obviously, it all has to fit with the chords, but there are more options out there than a lot of people realise when it comes to harmonies. Remember - a harmony doesn’t have to move either, it can stay on a common tone while the melody changes. That’s another way of looking at them.”

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John Petrucci - Guitar Quick Licks: Progressive Shredding - DVD
Learn killer licks in the style of John Petrucci, the lead guitarist with Dream Theater. Taught by Andy James this DVD also includes a guitar jam track. Each Quick Licks DVD includes an arsenal of licks in the style of your chosen artist to add to your repertoire, plus backing tracks to practice your new licks and techniques!
(90 min)Price - $

Andy James - Shred Guitar In 6 Weeks - 6 DVD Set
Welcome to the Shred Guitar in 6 Weeks guitar course! This course is designed to focus your practice towards realistic goals achievable in six weeks. Each week provides you with techniques, concepts and licks to help you play and understand rock and metal soloing at a manageable pace. Three licks in the style of a featured artist are taught each week to help you towards playing in real musical situations and develop an ear for the differences between players. If you have been frustrated or intimidated by other educational material then this course is for you! You will see the improvement as you work through each week. Practice can sometimes be difficult with the player often being unsure which material to work on. With the Shred Guitar in 6 Weeks course the material is presented to you in easy to absorb sections which progress in a sensible logical order. Each DVD also includes a killer rock metal guitar jam track. Stick with this course and I guarantee you will improve!
Week six includes John Petrucci: Connecting the pentatonic positions, use of chromatics within pentatonics, sixth and seventh position natural minor scale licks and sequences, creating licks through octaves, and four important licks in the style of John Petrucci. Includes killer rock jam trax!
(60 min)Price - $

Click here to see the entire Shred Guitar 6 DVD Set

John Petrucci - Rock Discipline - DVD
John begins the video with a valuable segment on stretching and warming up the muscles in your shoulders, arms and hands. Then it's time to grab your guitar for some unique right and left hand warm-up exercises. He follows up with a detailed lesson on speed and accuracy as you learn subdivisions of the beat, chromatic exercises, and playing with dynamics. John emphasizes playing with a metronome to track your progress as you build stamina and speed and then shows how to connect "scale fragments" to form long solo lines. Other sections in the video include techniques like picking through arpeggios, string skipping, sweep picking and legato playing. John also demonstrates how to expand power chords by adding more color and texture. He unleashes dozens of inspiring demonstrations throughout the program and includes many exercises and special etudes ranging from easy-to-master to very challenging. "Rock Discipline" is one of the most complete courses on rock guitar and should be placed at the top of the list for every serious player!
( min) Tab Booklet IncludedPrice- $
Also Available For Instant Download - Click Here Now!

John Petrucci - Rock Discipline - Book and CD
This powerful and all encompassing book starts with a valuable segment on warm-ups followed by up-to-date practice concepts that address dealing with today's information explosion. John has provided detailed lessons concerning speed and accuracy using rhythmic subdivisions, chromatic exercises, dynamics and scale fragments. Other topics include picking through arpeggios, string skipping, sweep picking, legato technique and how to expand the color and texture of basic "power chords". Also included are detailed transcriptions and demonstrations of dozens of exercises, examples and special etudes ranging from easy-to-master to very challenging. All music examples are contained on the included recording.
Notation and tabPrice - $
Click To Hear Audio Samples      Click To See Sample Pages

 John Petrucci Plays "To Live Forever"

John Petrucci - Suspended Animation - Book
We are proud to present John Petrucci's amazing solo album, Suspended Animation, fully transcribed exactly as performed by John. Petrucci's mix of insanely intricate guitar riffs, brilliant songwriting and instinctive sense of melody has earned him praise and respect in the international guitar community. With legions of rabid fans that consider him the new guitar icon for the 21st century, John's compositions and playing on Suspended Animation represents a razor edged rediscovery of the limitless boundaries of the electric guitar. Titles include: "Jaws of Life * Glasgow Kiss * Tunnel Vision * Wishful Thinking * Damage Control * Curve * Lost Without You * Animate-Inanimate".
Notation and tabPrice - $
Click To See Sample Pages

 John Petrucci Plays "Jaws Of Life"

John Petrucci - Wild Stringdom - Book and CD
In this book, John Petrucci, Dream Theater's astounding guitarist, examines the variety of skills, techniques, and knowledge required of a well-rounded musician. He looks at time management and practice skills, warm-ups, technique, vocabulary, creativity, chord concepts, soloing, and much more. With well over music examples and solos (virtually all contained on the included CD), John personally guides you through every aspect of becoming a great guitarist and a creative musician.
Notation and tabPrice - $
Click To Hear Audio Samples      Click To See Sample Pages

 John Petrucci Plays "Glassgow Kiss"

Dream Theater - A Dramatic Turn Of Events - Book
All of you Dream Theater fans rejoice, this collection features note-for-note guitar tab transcriptions for every song on the album A Dramatic Turn of Events. Titles include: "On the Backs of Angels * Build Me Up Break Me Down * Lost Not Forgotten * This Is the Life * Bridges in the Sky * Outcry * Far from Heaven * Breaking All Illusions * Beneath the Surface".
Notation, tab and lyricsPrice - $

 John Petrucci & Dream Theater Play "On The Backs Of Angels"

Dream Theater - Awake - Book
Note-for-note transcriptions include: "Caught In a Web, , Innocence Faded, Erotomania, Voices, The Silent Man, The Mirror, Lie, Lifting Shadows, Off a Dream, Scarred, Space-Dye Vest".
Notation, tab and lyricsPrice - $

 John Petrucci & Dream Theater Play "Caught In A Web"

Dream Theater - Black Clouds & Silver Linings - Book
Dream Theater's 10th studio album, Black Clouds & Silver Linings, is another milestone in their hugely impressive body of work. All guitar parts have been faithfully transcribed exactly as performed by John Petrucci. Titles include: "The Best of Times * The Count of Tuscany * A Nightmare to Remember * A Rite of Passage * The Shattered Fortress * Wither".
Notation, tab and lyricsPrice - $

 John Petrucci & Dream Theater Play "The Best Of Times"

Dream Theater - Dream Theater - Book
The self-titled offering by prog-rockers Dream Theater topped the Billboard® Hard Rock Albums charts. Our matching folio includes note-for-note transcriptions of all the guitar parts for all nine tracks including: "Along for the Ride * Behind the Veil * The Bigger Picture * The Enemy Inside * Enigma Machine * False Awakening Suite * Illumination Theory * The Looking Glass * Surrender to Reason".
Notation, tab and lyricsPrice - $

 John Petrucci & Dream Theater Play "The Looking Glass"

Dream Theater - Guitar Anthology - Book
This collection presents Dream Theater's best work, as selected by John Petrucci himself, spanning their entire history and including the never-before-released in print "YTSE Jam." Now guitarists can play along to the most popular songs ever released by the progressive metal band. Titles include: "Voices * Metropolis - Part 1 "The Miracle and the Sleeper" * Peruvian Skies * Beyond This Life * The Glass Prison * In the Name of God * The Dark Eternal Night * YTSE Jam * Never Enough".
Notation, tab and lyricsPrice - $

 John Petrucci & Dream Theater Play "Peruvian Skies"

Dream Theater - Images and Words - Book
Book includes note-for-note transcriptions for: "Another Day, Learning To Live, Pull Me Under, Metropolis - Part I The Miracle and The Sleeper, Surrounded, Take The Time, Under a Glass Moon, Wait For Sleep".
Notation, tab and lyricsPrice - $

 John Petrucci & Dream Theater Play "Another Day"

Dream Theater - Metropolis Part 2: Scenes From A Memory - Book
Matching tab transcriptions to the album, including: "Scene One: Regression * Scene Two: I. Overture ; II. Strange Deja Vu * Scene Three: I. Through My Words; II. Fatal Tragedy * Scene Four: Beyond This Life * Scene Five: Through Her Eyes * Scene Six: Home * Scene Seven: I. The Dance of Eternity; II. One Last Time * Scene Eight: The Spirit Carries On * Scene Nine: Finally Free".
Notation, tab and lyricsPrice - $

 John Petrucci & Dream Theater Play "Finally Free"

Dream Theater - Octavarium - Book
The latest release from these legendary prog/rockers transcribed note-for-note in guitar tab. Songs include: "The Root of All Evil * The Answer Lies Within * These Walls * I Walk Beside You * Panic Attack * Never Enough * Sacrificed Sons * Octavarium".
Notation, tab and lyricsPrice - $

 John Petrucci & Dream Theater Play "Panic Attack"

Dream Theater - Systematic Chaos - Book
The matching folio to the prog/metal superstar's latest release. All the songs transcribed note-for-note from the album in notes and tab including: "Constant Motion, Forsaken, In The Presence Of Enemies Part 1, In The Presence Of Enemies Part 2, Prophets Of War, Repentance, The Dark Eternal Night, The Ministry Of Lost Souls".
Notation, tab and lyricsPrice - $

 John Petrucci & Dream Theater Play "Constant Motion"

Dream Theater - Train Of Thought - Book
This album-matching folio contains complete guitar tab transcriptions of the songs from the album including a beautiful eight-page art section featuring lyrics and the surrealistic art of Jerry Uelsmann. Titles include: "As I Am * This Dying Soul * Endless Sacrifice * Honor Thy Father * Vacant * Stream of Consciousness * In the Name of God".
Notation, tab and lyricsPrice - $

 John Petrucci & Dream Theater Play "In The Name Of God"

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John Petrucci (Dream Theater) - Top Solos 2
JOHN PETRUCCI Reveals His Favourite DREAM THEATER Guitar Solo - "I Just Put All These Things Together And When I Listened Back, I Was Like, 'That's Kind Of Cool'"

Dream Theater guitarist John Petrucci recently spoke with The Prog Report host Roie Avin about his new solo album, Terminal Velocity, working with former Dream Theater drummer Mike Portnoy again, and more. Check out the interview below.

On his favourite Dream Theater guitar solo

Petrucci: "We put out a lot of music; there's a lot of solos, and I'm proud of many of them. I enjoy playing them live, and the ones that I might mention might be kind of typical, but they sort of stand out to me. One of them is 'Under A Glass Moon' (from Images And Words). There's something about that solo, and some of my soloing approaches are more improvised, and that was a very - a constructive type of solo.

I don't know, it came out really interesting. At the time, I was just going to all these different places in that one solo, and sometimes, that happens and you turn around and listen to it and you're like, 'That's not good.' I don't know, I just put all these things together and when I listened back, I was like, 'That's kind of cool.' It just was this interesting thing for me, and it turned out to be fun to play live and everything else."

Petrucci recently announced the forthcoming worldwide release of his second all-instrumental solo album, Terminal Velocity, the first solo album by the Dream Theater guitarist to be released in 15 years. The album will be released through The Orchard Music on his Sound Mind Music record label on all digital and streaming platforms on August 28th and on CD and Vinyl on October

Terminal Velocity was written and produced by John Petrucci, recorded by James ‘Jimmy T’ Meslin and mixed and mastered by Andy Sneap (Judas Priest, Killswitch Engage, Arch Enemy). The artwork was created by Sean M. Smith at Echo Designlab (Stone Sour, Hollywood Undead, In This Moment).

The album sees the return of bassist Dave LaRue (Dixie Dregs, Flying Colors) who played on John’s debut solo album and subsequent G3 tours, as well as, an eagerly anticipated reunion with former Dream Theater drummer Mike Portnoy (Transatlantic, Winery Dogs, Sons Of Apollo). “It was awesome bringing Dave back to play bass on this album. He is just such a monster player who can handle anything you throw at him with tastefulness and unmatched musicality. His melodic approach to bass lines along with impeccable technique and groove for days really stands out on these tunes.”

Portnoy’s appearance on Terminal Velocity marks the first recording of the guitarist and his former bandmate in over a decade and the first since Portnoy left the band in “Having Mike play drums on this record was really special for me and he did an absolutely incredible job navigating the various styles and technical challenges my music presented in the way that only he can do. It was very cathartic for the both of us, I think, to be playing music together again after all these years and it really felt great! Mike’s spirited, intuitive and energetic playing truly helped to elevate these new songs to a level that I couldn’t be happier with.”

The video for “Terminal Velocity” can be seen below. John Petrucci on the track and video: “Terminal Velocity was actually the first new song that I wrote for the album when I entered the studio in March of this year. It stemmed from one of the many ideas and seeds that I had collected over the past several years. I literally began with the opening motif and built the rest of song from there. I think it’s a great lead-off single and nicely represents a few of the different stylistic sides of this record that I wanted to explore as a guitar player; The melodic/thematic side, the riffing side, and the shred side.

“Mike and Dave both did an amazing job bringing this song to life as well, with all of the energy that they injected when recording their performances.

“The video was created by Wayne Joyner who made all of the promotional videos for Dream Theater’s Distance Over Time album as well as all of the / DT live tour visuals including all of the updated Scenes From A Memory video content. The tracking footage of me, Dave and Mike in the studio has a play-through sort of vibe while Wayne did his magic adding amazing 3-D graphics and special visual effects to help tell a story. I think the end result is a really unique and engaging video that captures the song's energy and definitely does the first single justice. Really excited for people to see and hear this!”

In the beginning of March while the COVID global pandemic was unrelentingly reeking it’s havoc on the world and especially NY, John started working on the music that would make up Terminal Velocity at the DT Headquarters on Long Island with engineer Jimmy T at the helm. “All DT touring for the rest of the year was either being cancelled or postponed and even though I had already planned on starting the project this Spring, I suddenly found myself with many unanticipated months at home. Jimmy T and I would head into the DTHQ 5 days week for about 2 and a half months and, as I wrote and constructed the new tunes, he was right there capturing it all and turning it into a record. Initially, we programmed drums and shared bass playing responsibilities just to get the ideas to a place where they sounded like completed and cohesive songs but we always anticipating that ‘work in progress’ drums and bass would eventually be replaced.”

The nine songs on Terminal Velocity showcase John’s affinity for writing tightly-weaved guitar instrumental powerhouses that feature everything from monster riff breaks to passion-filled melodic themes worthy of film soundtracks, to all-out shred extravaganzas that leave the listener feeling like they just stepped off of a thrilling musical roller coaster ride. “Much like the songs on my first solo album, Suspended Animation, I wanted the new tunes to really showcase what I’m all about as a player and to give an up-to-date depiction of where I am musically and how I like to express myself on the instrument. It’s about capturing the attitude of the performances and of course as always, very much about capturing the tone that I’ve worked so hard over the years to develop and refine.”

Although a few of the songs that make up Terminal Velocity were actually written quite a long time ago and even played live but never properly recorded, over half the album’s content is new music that John created while in the studio during the quarantine. “I believe that making this record when I did really helped me to maintain a sense of stability and normalcy during such a crazy time in our history.” “It was encouraging for me and my family to embrace something so hopeful and positive as we faced a very uncertain future in the music industry and in the world and for that, I am truly grateful for having music be such a big part of my life.”

Pre-order the album here.

Limited colored 2LP vinyl (clear & black metallic and metallic silver & black) signed by John Petrucci, as well as signed CD digipaks (limited to copies) will be exclusively available at Newbury Comics and can be ordered here.


"Terminal Velocity"
"The Oddfather"
"Happy Song"
"Out Of The Blue"
"Glassy-Eyed Zombies"
"The Way Things Fall"
"Snake In My Boot"
"Temple Of Circadia"

(Photo - Larry DiMarzio)


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Dream Theater John Petrucci Solos From The Astonishing Album Disc 1

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John Petrucci Solos (Dream Theater)(1989-2011)

John Petrucci: 10 of His All-Time Greatest Solos

It would be a fool’s errand to name John Petrucci’s Top 10 guitar solos. The Dream Theater guitarist is one of the most inspirational metal players and has tracked so many jaw-dropping solos that even his devoted followers can’t agree on which are his greatest.

We’re calling attention to 10 solos that we consider to be among the best in his catalog—which is to say, there are many more than what we’ve included here.

“Under a Glass Moon” 

“Behind the Veil”

“Constant Motion”

“Hollow Years (Live at Budokan)”

“Glasgow Kiss”

“Enigma Machine”

“Damage Control”

“Peruvian Skies”

“Fatal Tragedy”

“The Silent Man”


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