A Quote by John Petrucci
Your solos should be as interesting as any other part of the song.
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I don't really break into too many solos. But I've never been a super-big solo guy anyway. I like to make the main melody guitar lines of the songs as cool and interesting as possible without just strumming chords. I like to have chords intertwined with riffs here and there, but I'll do the riffs and the solos where the bottom will drop out. Basically, I do everything for the song, I don't do it for the solo glory. Kids aren't really into that anymore for some reason.
I think, any of your audition songs should really be a song that you are so confident with and can pull out of your back pocket. Find a song that shows your entire range very quickly.
Guitar solos, to me, should be a really articulate way to make fun of guitar solos.
I'm very interested in the distance and the space between those two poles: very concrete, song-based stuff on the one hand and very improvisational, abstract stuff on the other. I don't see any reason music should exclude one or the other, and I think the pairing of them together makes for very interesting music in a lot of ways.
With my first high school band ever, we would have these breaks in the song for idiotic solos, solos that were un-tasteful and would be shredding, but I needed to put them in there, and I realize now it's because we were playing shows with a whole bunch of bands that were all male.
I always believed a singer should be able to sing any kind of song. If I wanted to sing a Cole Porter song, I should be able to do that. Or 'Sherry,' I should be able to do that. Or a Dylan song.
I always believed a singer should be able to sing any kind of song. If I wanted to sing a Cole Porter song, I should be able to do that. Or Sherry, I should be able to do that. Or a Dylan song.
Listening to as many guitar solos as possible is the best method for someone in the early stages. But saxophone solos can be helpful. They're interesting because they are all single notes, and therefore can be repeated on the guitar. If you can copy a sax solo you're playing very well, because the average saxophonist can play much better than the average guitarist.
There should always be some sort of conclusion or climax to your solos.
Listen to the great guitarists of the Fifties. They didn't do that nasty sort of industrial distortion. They played musical compositions as solos - Scotty Moore, Cliff Gallup, Django Reinhardt. There wasn't a bad note in any of those solos. I listened to that and stayed with those rules.
I don't think you ever write a song with any intention except the song's about such and such per say ... we've never written a song and thought 'oh it'd be great if in this part this happened in the audience'.
The interesting thing about a song like 'Bulletproof Heart' - it was [originally] called 'Trans Am' - the interesting thing about the amalgamation of that song was that the song also lived within us, like we all got to live with the song and it was around for about a year before we recorded it again, so the song got to really transform, which you don't really get to do.
A good song should give you a lot of images; you should be able to make your own little movie in your head to a good song.
A good song should make you wanna tap your foot and get with your girl. A great song should destroy cops and set fire to the suburbs. I'm only interested in writing great songs.
It's interesting what a new song can do to the other songs. A new song can be the grout of the record, tie the songs together, and define a new room in the house, helping the other rooms make sense.
I used my Schecter for all my rhythms and most of my solos, certainly the fast solos.
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