John Petrucci iz Da Shiz.

crimson87 wrote: The band is called Ain Soph , it's from japan

crimson87 wrote: Have you cheched Hat & Field yet?

Henry Plainview wrote: HughesJB4 wrote: Well I only just realized this thread was not originally in the Appreciation section, so my bad if I sounded a bit harsh earlier Well it was moved to Appreciation almost immediately, so you're covered. :P DavetheSlave wrote: Hi Crimson87 - surely you like "Scenes from a Memory??????? Is liking it a requirement?

DavetheSlave wrote: Hi Crimson87 - surely you like "Scenes from a Memory???????

Perhaps he does, and perhaps he doesn't, but whatever you do, don't call him "Shirley".


Edited by jplanet - December 30 2008 at 02:34

Yeah , I do. But check the album Hat and Field by Ain Soph and you 'll realize what I am talking about.

But since I am no musician. I can't appreciate the technical aspects , I just guide by my likings.

DavetheSlave wrote: Petrucci is quite simply the best prog / rock guitarist out there!!!!!!!!!!!!!!! All the unbelievers - well try to emulate his guitar style!!!!! Guitar w**king - SO!!!!!  Do what he does and then let's talk about it!!!!

Edited by crimson87 - December 29 2008 at 18:49

PetrucciPal wrote: Fieldofsorrow wrote: Well, there you are. I think DT approach their actual solos in a similar way to the way jazz musicians do, in that they try and do something harmonically brilliant, or some very swift line to hook the listener. What I think a lot of prog appreciaters realise, however, is that there is so much more to a solo than that. For me, nine and a half times out of ten, he captivates the essence of the song, and that is far more important than what notes he's playing. But Steve Morse, or Al Pitrelli, or Trevor Rabin, or Marty Friedman could do the same for another that Petrucci does for me. They will all uniquely (and succinctly if it works well) add something to the overall number - if their style works for you.   When I think about it, we're probably all quite similar in that respect, it's just what we look for to satisfy our needs that differs.   Well, they WERE in the jazz part of Berklee, or whatever. lol or so I hear.

Well, there you are. I think DT approach their actual solos in a similar way to the way jazz musicians do, in that they try and do something harmonically brilliant, or some very swift line to hook the listener. What I think a lot of prog appreciaters realise, however, is that there is so much more to a solo than that. For me, nine and a half times out of ten, he captivates the essence of the song, and that is far more important than what notes he's playing. But Steve Morse, or Al Pitrelli, or Trevor Rabin, or Marty Friedman could do the same for another that Petrucci does for me. They will all uniquely (and succinctly if it works well) add something to the overall number - if their style works for you.

Fieldofsorrow wrote: Now that's an interesting point. You see, I completely disagree. I think that the Petrucci/Rudess dual leads are all very singular, and capture the mood of the song pretty neatly. Octavarium's harmony runs conjure vivid images, as do the ones in 'Beyond this Life' and 'This Dying Soul', all portraying their own colours and shades. I know it's a litte showy, but it's creative and singular, as no one does them as well, and it adds something important to the structure of the songs for me.    But hey, I like the combination of harmonic innovation and the presence of the emotions created by them. And I respect and understand fully the reasons why you get bored of them. Being a big fan of Dream Theater will naturally lead me to disagree about many aspects about the writing of music with others, but I'm always happy to discuss these things because I love music so much.

You know, it's interesting because I'll actually agree pertaining to the instrumental sections. This Dying Soul in particular, the intro is phenomenal. Like the harmony leads on guitar, and then the synth melody right after that leading into the verse, very powerful stuff. Conjures up all sorts of cool mental images. But to me there seems to be a big distinction between the instrumental sections and the solo sections. While the instrumental sections are often top-notch, the solos bog it down a ton, and when they do conjecture up powerful images or emotions, nine times out of ten its the rhythm and harmony doing it, while the soloist just barely manages to not ruin it completely.