A Quote by John Petrucci

Chopin was a master of melody, harmony and voice leading - the art of smoothly moving from chord to chord. — © John Petrucci
Chopin was a master of melody, harmony and voice leading - the art of smoothly moving from chord to chord.
Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear. Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.
Then I began to play. Variations on a G major chord, the most wonderful chord known to mankind, infinitely happy. I could live inside a G major chord, with Grace, if she was willing. Everything uncomplicated and good about me could be summed up by that chord.
I've never used the word jamming. It's a matter of finding a great song and learning the chords, then slightly altering the vocal melody, and matching a classic chord progression with another chord progression.
I grew up with a piano, and my aunt taught me chords. I played with bands in high school and I could do like, C chord, G chord, D chord; really simple, rhythm piano.
When we do reggae, it's normally a one-chord or a two-chord, or whatever it is. With Sting, there'll be chord changes, key changes.
Once you've developed some technical facility on the guitar, the musical side (which entails theory, harmony, chord structure, ear training, sight-reading, composition and being able to hear chord progressions and licks) comes into play a lot more.
Matter exploded into being, apparently as chaos, but in fact as a chord. The ultimate power chord.
I've played the guitar since I was 12, and just taught myself songs chord by chord.
I had to learn chord shapes... I bought books with chord charts. I used to listen to all kinds of pop music.
I had to learn chord shapes. I bought books with chord charts. I used to listen to all kinds of pop music.
As the chord changes go by, I don't so much think about a static chord voicing changing. I just see the notes on the neck change.
With Audioslave, it's all about melody and chord progressions.
For me, songwriting starts with a melody. When a musician plays a chord progression, either the words and vocal melody come to me, or they don't. That's how I determine who to write with. It works, or it doesn't.
After a while, another voice said: One, two, three, four- And the universe came into being. It was wrong to call it a big bang. That would just be noise, and all that noise could create is more noise and a cosmos full of random particles. Matter exploded into being, apparently as chaos, but in fact as a chord. The ultimate power chord.
I still feel like if I can get a song to work with, say, a basic beat, a rhythm, some chord changes, and a melody, a vocal melody - if it works with that, then I feel it's written and there's something there.
There's a difference between the blues of the New Orleans guys and anyone else and the difference is in a chord, but I can't figure the name of it. It's a different chord, and they all make it.
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