Chords for Trivium Meets Dream Theater - a guitar masterclass, part 1
Tempo:
71.825 bpm
Chords used:
G
Db
Em
D
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Em]
[F] [Em] Hey everybody, this is John Petrucci from Dream [C] Theater.
I'm hanging out at Roadrunner Records with my [G] good friend, Mr.
Matt Heafey.
[B] How you doing?
Matt from Trivium.
[Bb] I'm here with John and we're about to hang [Em] out and show you guys some guitar stuff.
So ever since I got a hold of Rock Discipline,
I've been using that at pretty much every [D] single show, even back when we're first starting up trying to get signed.
So I've been using that and at one point I always had the booklet with me and I started to memorize it all.
I always had [Db] my metronome because one of the big tips you said was always use a metronome.
Absolutely.
And I haven't had mine out in a couple months, so I've got it ready to go as soon as we play the Orlando show.
But yeah, I love those exercises and a lot of the, like my really favorite [E] ones were the ones I was showing you earlier, [Eb] but the triplet style.
Right.
That [Gb] one and then also the
Right.
[Db] But one of the things I've been noticing lately while I've been picking, I've been kind of getting like too much motion going on here.
Yeah.
And [Eb] like when I come up on the high strings, it's been getting all wonky like on the way down.
Right.
So I was curious, like as [N] far as motion goes, is it all from here, here or should this not be going at all?
Well, here's the thing.
I mean, first of all, and we talked about this the other day, I'm a firm believer that there's so many different ways of playing.
You know, I've seen guys play like with all elbow, which freaks me out.
But you know, but it sounds amazing.
Or with that motion or or with the wrist.
I mean, for me, it's primarily the wrist.
You know, I like to kind of like the way that these guitars are designed, there's no mounting rings like you see there.
So I'm able to lock my pinky underneath there.
So it's kind of like, you know, it gives me this nice sort of bass.
Yeah.
And then my palm goes on the bridge and I pick mostly from the wrist.
Now, I notice this about myself, like as I go in between certain speeds that sometimes my thumb kind of does that.
Yeah.
So that.
Yeah, that's what my has been doing.
Yeah, I don't pick like that.
But sometimes I find that I kind of adjust.
Now, there's a way that you could actually work on that and get around it.
And it's actually something I learned from my good friend Mike Mangini.
Yeah.
Yeah.
A drum technique.
And basically, if you're going to be playing from the wrist and you can just do this on one string or one [Dm] note, you know.
[N]
What you do is you start with with, let's say, like a basic kind of eighth note type of feel.
And we don't have a [D] metronome, but we can sort of do.
Let's see.
[A]
And you kind of you kind of like pay a lot of close [F] attention to what your technique is doing, that you're [Db] just going like this.
And then [D] to try to keep a consistent thing when you go fast, you just double the time.
So you go from [A] like.
Right.
And what [Abm] you're trying to do is you're trying to get it so [Ab] that when you're [G] changing between the two techniques, you're not necessarily doing something [A] different, you know, and you can kind of.
[G] And that's great to do with the metronome, you know, they're called bursts, [Gb] you know, and, [N] you know, you might want to spend more time on the slower speed and then just have those little bursts of quick notes.
And and that's a really good way.
It's a good barometer to see if you're actually changing your technique.
Not only that, but it helps you go back and forth between if there is sort of a change, it makes that change smoother.
Yeah.
So if you find yourself doing that, it might just be because of like what you're playing, what tempo you're playing.
And the goal is to get it more consistent, I guess.
Yeah. Yeah.
Yeah.
I've definitely noticed like in the tremolo style or when I'm playing like like that doesn't really happen, but when it is slow, like when I was trying to learn the one exercise you should learn today and I take that slow.
I strike it in all sorts of.
You find you doing that right [G] now.
Now, play, for example, like just like a rhythm [E] fast thing you would do.
OK.
Yeah.
So what you're doing there is you have like a very tight, you know, percussive technique that's like really locked in and super powerful.
So you want to get that applied to the [Db] higher, the higher strings and the slower speeds as well.
OK, that's the whole thing.
Yeah.
You're doing it right.
[B] Hey, this is John Petrucci from Dream Theater.
Be sure to check out our latest album, A Dramatic Turn of Events.
It's available now.
Hey, this is Matt from Tribune.
Our new record is out.
It's called In Ways.
Make sure you check it out.
[Ebm] [Dbm] [Ebm] [Ab]
[F] [Em] Hey everybody, this is John Petrucci from Dream [C] Theater.
I'm hanging out at Roadrunner Records with my [G] good friend, Mr.
Matt Heafey.
[B] How you doing?
Matt from Trivium.
[Bb] I'm here with John and we're about to hang [Em] out and show you guys some guitar stuff.
So ever since I got a hold of Rock Discipline,
I've been using that at pretty much every [D] single show, even back when we're first starting up trying to get signed.
So I've been using that and at one point I always had the booklet with me and I started to memorize it all.
I always had [Db] my metronome because one of the big tips you said was always use a metronome.
Absolutely.
And I haven't had mine out in a couple months, so I've got it ready to go as soon as we play the Orlando show.
But yeah, I love those exercises and a lot of the, like my really favorite [E] ones were the ones I was showing you earlier, [Eb] but the triplet style.
Right.
That [Gb] one and then also the
Right.
[Db] But one of the things I've been noticing lately while I've been picking, I've been kind of getting like too much motion going on here.
Yeah.
And [Eb] like when I come up on the high strings, it's been getting all wonky like on the way down.
Right.
So I was curious, like as [N] far as motion goes, is it all from here, here or should this not be going at all?
Well, here's the thing.
I mean, first of all, and we talked about this the other day, I'm a firm believer that there's so many different ways of playing.
You know, I've seen guys play like with all elbow, which freaks me out.
But you know, but it sounds amazing.
Or with that motion or or with the wrist.
I mean, for me, it's primarily the wrist.
You know, I like to kind of like the way that these guitars are designed, there's no mounting rings like you see there.
So I'm able to lock my pinky underneath there.
So it's kind of like, you know, it gives me this nice sort of bass.
Yeah.
And then my palm goes on the bridge and I pick mostly from the wrist.
Now, I notice this about myself, like as I go in between certain speeds that sometimes my thumb kind of does that.
Yeah.
So that.
Yeah, that's what my has been doing.
Yeah, I don't pick like that.
But sometimes I find that I kind of adjust.
Now, there's a way that you could actually work on that and get around it.
And it's actually something I learned from my good friend Mike Mangini.
Yeah.
Yeah.
A drum technique.
And basically, if you're going to be playing from the wrist and you can just do this on one string or one [Dm] note, you know.
[N]
What you do is you start with with, let's say, like a basic kind of eighth note type of feel.
And we don't have a [D] metronome, but we can sort of do.
Let's see.
[A]
And you kind of you kind of like pay a lot of close [F] attention to what your technique is doing, that you're [Db] just going like this.
And then [D] to try to keep a consistent thing when you go fast, you just double the time.
So you go from [A] like.
Right.
And what [Abm] you're trying to do is you're trying to get it so [Ab] that when you're [G] changing between the two techniques, you're not necessarily doing something [A] different, you know, and you can kind of.
[G] And that's great to do with the metronome, you know, they're called bursts, [Gb] you know, and, [N] you know, you might want to spend more time on the slower speed and then just have those little bursts of quick notes.
And and that's a really good way.
It's a good barometer to see if you're actually changing your technique.
Not only that, but it helps you go back and forth between if there is sort of a change, it makes that change smoother.
Yeah.
So if you find yourself doing that, it might just be because of like what you're playing, what tempo you're playing.
And the goal is to get it more consistent, I guess.
Yeah. Yeah.
Yeah.
I've definitely noticed like in the tremolo style or when I'm playing like like that doesn't really happen, but when it is slow, like when I was trying to learn the one exercise you should learn today and I take that slow.
I strike it in all sorts of.
You find you doing that right [G] now.
Now, play, for example, like just like a rhythm [E] fast thing you would do.
OK.
Yeah.
So what you're doing there is you have like a very tight, you know, percussive technique that's like really locked in and super powerful.
So you want to get that applied to the [Db] higher, the higher strings and the slower speeds as well.
OK, that's the whole thing.
Yeah.
You're doing it right.
[B] Hey, this is John Petrucci from Dream Theater.
Be sure to check out our latest album, A Dramatic Turn of Events.
It's available now.
Hey, this is Matt from Tribune.
Our new record is out.
It's called In Ways.
Make sure you check it out.
[Ebm] [Dbm] [Ebm] [Ab]
Key:
G
Db
Em
D
A
G
Db
Em
_ _ _ [Em] _ _ _ _ _
_ _ _ [F] _ [Em] Hey everybody, this is John Petrucci from Dream [C] Theater.
I'm hanging out at Roadrunner Records with my [G] good friend, Mr.
Matt Heafey.
[B] How you doing?
Matt from Trivium.
[Bb] I'm here with John and we're about to hang [Em] out and show you guys some guitar stuff.
So ever since I got a hold of Rock Discipline,
I've been using that at pretty much every [D] single show, even back when we're first starting up trying to get signed.
So I've been using that and at one point I always had the booklet with me and I started to memorize it all.
I always had [Db] my metronome because one of the big tips you said was always use a metronome.
Absolutely.
And I haven't had mine out in a couple months, so I've got it ready to go as soon as we play the Orlando show.
But yeah, I love those exercises and a lot of the, like my really favorite [E] ones were the ones I was showing you earlier, [Eb] but the triplet style.
Right.
That [Gb] one and then also the_
Right. _
[Db] But one of the things I've been noticing lately while I've been picking, I've been kind of getting like too much motion going on here.
Yeah.
And [Eb] like when I come up on the high strings, it's been getting all wonky like on the way down.
Right.
So I was curious, like as [N] far as motion goes, is it all from here, here or should this not be going at all?
Well, here's the thing.
I mean, first of all, and we talked about this the other day, I'm a firm believer that there's so many different ways of playing.
You know, I've seen guys play like with all elbow, which freaks me out.
But you know, but it sounds amazing.
Or with that motion or or with the wrist.
I mean, for me, it's primarily the wrist.
You know, I like to kind of like the way that these guitars are designed, there's no mounting rings like you see there.
So I'm able to lock my pinky underneath there.
So it's kind of like, you know, it gives me this nice sort of bass.
Yeah.
And then my palm goes on the bridge and I pick mostly from the wrist.
Now, I notice this about myself, like as I go in between certain speeds that sometimes my thumb kind of does that.
Yeah.
So that.
Yeah, that's what my has been doing.
Yeah, I don't pick like that.
But sometimes I find that I kind of adjust.
Now, there's a way that you could actually work on that and get around it.
And it's actually something I learned from my good friend Mike Mangini.
Yeah.
Yeah.
A drum technique.
And basically, if you're going to be playing from the wrist and you can just do this on one string or one [Dm] note, you know.
_ _ _ [N]
What you do is you start with with, let's say, like a basic kind of eighth note type of feel.
And we don't have a [D] metronome, but we can sort of do.
Let's see.
[A] _ _
_ _ _ And you kind of you kind of like pay a lot of close [F] attention to what your technique is doing, that you're [Db] just going like this.
And then [D] to try to keep a consistent thing when you go fast, you just double the time.
So you go from [A] like. _ _ _ _
_ _ _ _ _ _ _ _
_ Right.
And what [Abm] you're trying to do is you're trying to get it so [Ab] that when you're [G] changing between the two techniques, you're not necessarily doing something [A] different, you know, and you can kind of. _ _
_ _ _ _ _ _ _ _
_ _ _ _ [G] And that's great to do with the metronome, you know, they're called bursts, [Gb] you know, and, [N] you know, you might want to spend more time on the slower speed and then just have those little bursts of quick notes.
And and that's a really good way.
It's a good barometer to see if you're actually changing your technique.
Not only that, but it helps you go back and forth between if there is sort of a change, it makes that change smoother.
Yeah.
So if you find yourself doing that, it might just be because of like what you're playing, what tempo you're playing.
And the goal is to get it more consistent, I guess.
Yeah. Yeah.
Yeah.
I've definitely noticed like in the tremolo style or when I'm playing like like that doesn't really happen, but when it is slow, like when I was trying to learn the one exercise you should learn today and I take that slow.
I strike it in all sorts of.
You find you doing that right [G] now.
Now, play, for example, like just like a rhythm [E] fast thing you would do.
_ _ OK.
Yeah.
So what you're doing there is you have like a very tight, you know, percussive technique that's like really locked in and super powerful.
So you want to get that applied to the [Db] higher, the higher strings and the slower speeds as well.
OK, that's the whole thing.
Yeah.
You're doing it right.
[B] Hey, this is John Petrucci from Dream Theater.
Be sure to check out our latest album, A Dramatic Turn of Events.
It's available now.
Hey, this is Matt from Tribune.
Our new record is out.
It's called In Ways.
Make sure you check it out.
_ _ [Ebm] _ _ [Dbm] _ _ _ _ _ _ [Ebm] _ _ [Ab] _ _ _
_ _ _ _ _ _ _ _
_ _ _ [F] _ [Em] Hey everybody, this is John Petrucci from Dream [C] Theater.
I'm hanging out at Roadrunner Records with my [G] good friend, Mr.
Matt Heafey.
[B] How you doing?
Matt from Trivium.
[Bb] I'm here with John and we're about to hang [Em] out and show you guys some guitar stuff.
So ever since I got a hold of Rock Discipline,
I've been using that at pretty much every [D] single show, even back when we're first starting up trying to get signed.
So I've been using that and at one point I always had the booklet with me and I started to memorize it all.
I always had [Db] my metronome because one of the big tips you said was always use a metronome.
Absolutely.
And I haven't had mine out in a couple months, so I've got it ready to go as soon as we play the Orlando show.
But yeah, I love those exercises and a lot of the, like my really favorite [E] ones were the ones I was showing you earlier, [Eb] but the triplet style.
Right.
That [Gb] one and then also the_
Right. _
[Db] But one of the things I've been noticing lately while I've been picking, I've been kind of getting like too much motion going on here.
Yeah.
And [Eb] like when I come up on the high strings, it's been getting all wonky like on the way down.
Right.
So I was curious, like as [N] far as motion goes, is it all from here, here or should this not be going at all?
Well, here's the thing.
I mean, first of all, and we talked about this the other day, I'm a firm believer that there's so many different ways of playing.
You know, I've seen guys play like with all elbow, which freaks me out.
But you know, but it sounds amazing.
Or with that motion or or with the wrist.
I mean, for me, it's primarily the wrist.
You know, I like to kind of like the way that these guitars are designed, there's no mounting rings like you see there.
So I'm able to lock my pinky underneath there.
So it's kind of like, you know, it gives me this nice sort of bass.
Yeah.
And then my palm goes on the bridge and I pick mostly from the wrist.
Now, I notice this about myself, like as I go in between certain speeds that sometimes my thumb kind of does that.
Yeah.
So that.
Yeah, that's what my has been doing.
Yeah, I don't pick like that.
But sometimes I find that I kind of adjust.
Now, there's a way that you could actually work on that and get around it.
And it's actually something I learned from my good friend Mike Mangini.
Yeah.
Yeah.
A drum technique.
And basically, if you're going to be playing from the wrist and you can just do this on one string or one [Dm] note, you know.
_ _ _ [N]
What you do is you start with with, let's say, like a basic kind of eighth note type of feel.
And we don't have a [D] metronome, but we can sort of do.
Let's see.
[A] _ _
_ _ _ And you kind of you kind of like pay a lot of close [F] attention to what your technique is doing, that you're [Db] just going like this.
And then [D] to try to keep a consistent thing when you go fast, you just double the time.
So you go from [A] like. _ _ _ _
_ _ _ _ _ _ _ _
_ Right.
And what [Abm] you're trying to do is you're trying to get it so [Ab] that when you're [G] changing between the two techniques, you're not necessarily doing something [A] different, you know, and you can kind of. _ _
_ _ _ _ _ _ _ _
_ _ _ _ [G] And that's great to do with the metronome, you know, they're called bursts, [Gb] you know, and, [N] you know, you might want to spend more time on the slower speed and then just have those little bursts of quick notes.
And and that's a really good way.
It's a good barometer to see if you're actually changing your technique.
Not only that, but it helps you go back and forth between if there is sort of a change, it makes that change smoother.
Yeah.
So if you find yourself doing that, it might just be because of like what you're playing, what tempo you're playing.
And the goal is to get it more consistent, I guess.
Yeah. Yeah.
Yeah.
I've definitely noticed like in the tremolo style or when I'm playing like like that doesn't really happen, but when it is slow, like when I was trying to learn the one exercise you should learn today and I take that slow.
I strike it in all sorts of.
You find you doing that right [G] now.
Now, play, for example, like just like a rhythm [E] fast thing you would do.
_ _ OK.
Yeah.
So what you're doing there is you have like a very tight, you know, percussive technique that's like really locked in and super powerful.
So you want to get that applied to the [Db] higher, the higher strings and the slower speeds as well.
OK, that's the whole thing.
Yeah.
You're doing it right.
[B] Hey, this is John Petrucci from Dream Theater.
Be sure to check out our latest album, A Dramatic Turn of Events.
It's available now.
Hey, this is Matt from Tribune.
Our new record is out.
It's called In Ways.
Make sure you check it out.
_ _ [Ebm] _ _ [Dbm] _ _ _ _ _ _ [Ebm] _ _ [Ab] _ _ _
_ _ _ _ _ _ _ _