Myung: It’s a part of my life now, so I need to do it. And before
every show I have to do it.
You run through the whole two-hour routine before every show?
Myung: Yep. Absolutely. Usually, we’ll drive overnight on a bus,
check into a hotel, and soundcheck will be sometime after 4
o’clock, and then we’re usually on at 9. Between soundcheck and
the actual showtime—as soon as soundcheck is over—I disappear
and find a room, then immediately start my sequence. It really
has to be that way, because you can’t give it your all and feel good
about what you’re doing if your hands, if the physical side of things
isn’t ready. You have to condition yourself to be able to play the
way you want to play.
011_ad.pdf 4/26/11 1:23:20 PM
John P., in the past you’ve said you used to think of alternate
picking and legato playing as two separate approaches, and that
legato playing almost felt like cheating because you don’t have
to pick every note. Later, you combined both approaches to
play at what you call “hyper speed.”
Petrucci: Basically, if you’re alternate picking consecutively and
then you stop to leave room for legato, the direction your pick left
off and starts up again is where it normally would be if you were
alternate picking, like where the downbeat is.
Do you mean like “down-up” then legato then starting again
“down” on the next beat?
Photos by GianIuca Trombetta
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