Playing Rating: Advanced

Example 1

This example demonstrates Petrucci’s fast picking style where the mixolydian is used throughout, with the exception of the chromatic run down starting on the second half of beat 2 (F#, F, E, D#) in bar 2. Practise this at a very slow tempo, only increasing when confident with the clarity of each note.

Example 1

Example 2

Here the mixolydian is again combined with chromatics which descend from the 5th to the 3rd in the key of B, (F#, F, E, D#).

Example 2

Example 3

This sweep picking lick outlines fragmented instances of the B7 arpeggio (B, D#, F#, A), with large intervallic leaps in the second bar by pulling off strings high up the neck. This is another one to practise slowly, making sure the slide between the second and third beat bar 1, reaches the designated fret. It is important to apply the finger rolling technique with the sweeps on beat three and four.

Example 3

Example 4

In this example the mixolydian is used in conjunction with chromaticism. This type of playing is characteristic of Steve Morse and it’s useful to bear in mind that Petrucci is a fan and sometimes emulates Morse’s style, check out Damage Control from Petrucci’s album, Suspended Animation. The chromatic notes occur on beat two bar one, where the root note chromatically ascends to the 9th and then descends, and from the 5th of B (F#) on beat four ascends to the sixth and back down to the 5th. From the A in beat one of bar three, another chromatic descent to the 5th (F#) followed by the fourth, minor 3rd (D) sliding to the major 3rd (D#) and up chromatically to the fifth (F#) and back down to the major 3rd. This play with chromatics is a great way to open up possibilities when soloing as it offers colour to purely diatonic material, therefore yielding a more interesting solo style.

Example 4