Review of Falling Into Infinity by Dream Theater

Falling Into Infinity is a bit softer than the music on some of Dream Theater’s other albums, but it does get a little heavy on the song “Peruvian Skies.”  Other highlights include “Hollow Years,” “Lines in the Sand,” and” Take Away My Pain.”  Detractions include “You Not Me,” and “Burning My Soul.”  However, overall Falling Into Infinity is a tremendous album.  Because I have rated this album 5 stars, essentially what I mean is that it is superb even though it is ranked 9th, but the difference between this album and another album is in taste, as the music is essentially equal.

Rated in order:

Five Stars, 1.  Dream Theater by Dream Theater

Five Stars, 2.  Awake

Five Stars, 3.  Octavarium

Five Stars, 4.  Images and Words

Five Stars, 5.  A Dramatic Turn of Events

Five Stars, 6.  Systematic Chaos

Five Stars, 7.  Metropolis Pt. 2: Scenes from a Memory

Five Stars, 8.  Train of Thought

Five Stars, 9.  Falling Into Infinity

Four Stars, 10.  When Dream and Day Unite - Get the "Official Bootleg - When Dream and Day Unite," and/or Live at the Marquee instead.  They are far better.

Four Stars, 11.  Black Clouds & Silver Linings

Four Stars, 12.  Six Degrees of Inner Turbulence - Get the totally awesome "4 Degrees of Radio Edits," and/or "Score" instead.

3rd Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (3, 5, 1), (3, 5, 1), (3, 5, 1)

I start with theory, but if you only want the patterns, feel free to search for “3:15” in this lesson using the command F function if you have a PC.

3:1  Triads are three note chords, where each of the three notes in each three note chord is a different interval of a 7 note major scale, specifically the Ionian mode.

3:2  A 1, 4, 5 chord progression is probably most common chord progression.

3:3  Because it is a 1, 4, 5 chord progression, it is a pattern of 3 chords in progression, where 1, 4, and 5 represent the root notes of the chords.  The 1 of “1, 4, 5,” represents a chord.  The 4 of “1, 4, 5,” represents a cord.  And, the 5 of “1, 4, 5,” represents a chord.  These chords do not necessarily need to be played in order.

3:4  1, 4, 5 chord progressions take their name, 1, 4, 5, by the root notes of the scale they occupy.

3:5  Every chord in a 1, 4, 5 chord progression is a major chord.  Major means that it sounds happy, as opposed to minor which sounds sad, taking its root notes as the 3 major notes of the Ionian scale, the 1^st note, 4^th note and the 5^th note.

3:6  Every note of the 1 chord, the 4 chord, and the 5 chord is contained within the respective Ionian scale pattern of the key that the progression is played in.

3:7  In the key of C, the Ionian mode has no sharps or flats.  The root of the Ionian mode in the key of C is C.  Its notes follow the pattern C (major) D, (minor) E (minor), F (major), G (minor), A (minor), B (diminished), repeating C, which is an octave.

3:8  There are seven notes to the Ionian scale, which should sound very familiar if played in order.  Additionally the Ionian sound can be played in any key, and that is true for any mode.  The notes are of Ionian Mode in the key of C are Doe (which when Doe is used as a root note in any key the result sound is Ionian), Ray (which when Ray is used as a root note in any key the result sound is Dorian), Me (which when Me is used as a root note it any key the result sound is Phrygian), Fa (which when Fa is used as a root note in any key the result sound is Lydian), Sew (which when Sew is used as a root note in any key the result sound is Mixolydian), La (which when La is used as a root note in any key, the result sound is Aeolian), Tea (which when Tea is used as a root sound in any key the result sound is Locrian).  However, for this exercise, because it consists of 1, 4, and 5, chords, the only sounds that will be used are, Ionian, Lydian, and Mixolydian, respectively, but not the Dorian, Phrygian, Aeolian, and Locrain modes.

3:8  In any key the Ionian scale follows the pattern Root, whole step, whole step, half step, whole step, whole step, whole step, half step, where a whole step is 2 notes (2 frets) higher than a previous note, and a half step is 1 note (1 fret) higher than a previous note.

3:9  With respect to the Ionian major scale, the intervals for these exercises will always be stacked as (3, 5, 1).  Consequently, the 1 chord, the 4 chord, and the 5 chord all have 5, 1, and 3 notes of different Ionian keys, where the 1 is a root note of the beginning of the respective Ionian scale.  Although, the 4 chord has the 4^th interval of the song key as its root, that root is considered as the 1 note of a different Ionian mode for the purpose of labeling its identity, as in comparison to the 1 and 5 chords though it sounds Lydian.  And, although the 5 chord has the 5^th interval of the song key as its root, that root is considered as the 1 note of a different Ionian mode for the purpose of labeling its identity, as in comparison to the 1 and 4 chords it sounds Mixolydian.

3:10  Each root is “1” of the three different chords, each consisting of 3, 5, and 1 intervals, where 3 is on the fattest of the 3 highest strings, 5 is on the next fattest of the 3 high strings, and 1 is played on the highest string.

3:11  The root note is called 1, the root note of the Ionian scale.  The 2^nd major root note of the major scale is the 4^th note of the Ionian mode.  The 3^rd major root note of the major scale is the 5^th note of the Ionian mode.

3:12  The 1 chord of the C major (Ionian) scale is “Doe.”  The 4 chord of the C major scale (Ionian) has its root as “Fa” chord of the major scale because it is the 4^th note of the pattern “Do Ray Me Fa.”  The 5 chord of the C major scale (Ionian) is Sew because it is the 5^th note in the pattern, “Do Ray Me Fa Sew.”

3:13  The labeling of the intervals of the three chords of the 1, 4, 5 chord progression is made with respect to as if the root note as if each of these 3 chords was created by a separate Ionian scale pattern.

3:14  The strings are labeled as such: the 6^th string is the highest pitched string, or the thinnest string, the 5^th string is the next highest pitched string, and the 4^th string is the lowest pitched string of the three highest pitched strings, whose pitches are measured in standard E tuning and played at the same fret.

3:15  For this exercise the chords will all be fretted with the middle finger on the 4^th string, the index finger on the 5^th string, and the index finger on the 6^th string.

3:16  The key of E:

The 1 chord consists of the notes, G#, B, and E.

The G# is the 3 of the chord.  The B is the 5 of the chord.  The E is the 1 note, the root note, of the chord.  This is why it is a chord with 3, 5, 1 voicing.

Because of the way this chord is stacked, the G# is on the 4^th string at the 13 fret.  The B is on 5^th string at the 12^th fret, and the E is on the 6^th string at the 12^th fret.

Get familiar with it.

The 4 chord is an A and it consists of the notes, C#, E, and A.

The C# is the 3 note of the chord.  The E is the 5 note of the chord.  The A is the 1 note, the root note, of the chord.  This is why it is a chord with 3, 5, 1 voicing.

Because of the way this chord is stacked the C# is on the 4^th string (the 3^rd thinnest string) at the 6^th fret.  The E is on the 5^th string (the 2^nd thinnest) at the 5^th fret, and the A is on the 6^th string (the thinnest string) at the 5^th fret.

Get familiar with it.

The 5 chord is a B chord.  It consists of the notes, D#, F#, B.

The D# is the 3 note of the chord.  The F# is the 5 note of the chord.  The B is the 1 note, the root note, of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked the D# is on the 4^th string at the 8^th fret.  The F# is on the 5^th string at the 7^th fret, and the B is on the 6^th string at the 7^th fret.

Get familiar with it.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5; for instance play 5, 1, 4 or 4, 1, 5.

3:17  The key of D# (the same pattern, but a half step lower):

The 1 chord consists of the notes G, A#, and D#.

The G is the 3 note of the chord.  The A# is the 5 note of the chord.  The D# is the 1 note, the root note, of the of the chord.  This is why it is a chord with 3, 5, 1 voicing.

Because of the way this chord is stacked, the G is on the 4^th string at the 12^th fret.  The A# is on 5^th string at the 11^th fret, and the D# is on the 6^th string at the 11^th fret.

The 4 chord is a G# and it consists of the notes, C, D#, and G#.

The C is the 3 note of the chord.  The D# is the 5 note of the chord.  The G# is the 1 note, the rood note, of the chord.  This is why it is a chord with 3, 5, 1 voicing.

Because of the way this chord is stacked, the C is on the 4^th string at the 5^th fret.  The D# is on the 5^th string at the 4^th fret, and the G# is on the 6^th string at the 4^th fret.

The 5 chord is an A# chord and it consists of the notes D, F, A#.

The D is the 3 note of the chord.  The F is the 5 note, of the chord.  The A# is the 1 note, the root note, of the chord.  This is why it is a chord with 3, 5, 1 voicing.

Because of the way this chord is stacked the D is on the 4^th string at the 7^th fret.  The F is on the 5^th string at the 6^th fret, and the A# is on the 6^th string at the 6^th fret.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5.

3:18  The key of D (the same pattern, yet another half-step lower):

The 1 chord consists of the notes F#, A, and D.

The F# is the 3 note of the chord.  The A is the 5 note of the chord.  The D is the 1 note, the root note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked, the F# is on the 4^th string at the 11^th fret.  The D# is on 5^th string at the 10^th fret, and the G is on the 6^th string at the 10^th fret.

The 4 chord is a G and it consists of the notes, B, D, and G.

The B is the 3 note of the chord.  The D is the 5 note of the chord.  The G is the 1 note, the root note, of the chord.  This is why it is a chord with 3, 5, 1 voicing.

Because of the way this chord is stacked, the B is on the 4^th string at the 4^th fret.  The D is on the 5^th string at the 3^rd fret, and the G is on the 6^th string at the 3^rd fret.

The 5 chord is an A chord and it consists of the notes, C#, E, and A.

The C# is the 3 note of the chord.  The E is the 5 note of the chord.  The A is the 1 note, the root note, of the chord.  This is why it is a chord with 3, 5, 1 voicing.

Because of the way this chord is stacked the C# is on the 4^th string at the 6^th fret.  The E is on the 5^th string at the 5^th fret, and the A is on the 6^th string at the 5^th fret.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5.

3:19  The key of C#:

Using the patterns established in this exercise, play a 1, 4, 5 chord progression in the key of C# with 3, 5, 1 voicing.  The 1 chord is a C#.  The 4 chord is a G#.  The 5 chord is a F#.

3:20  The key of C:

Using the patterns established in this exercise, play a 1, 5, 4 chord progression in the key of C with 3, 5, 1 voicing.  The 1 chord is a C.  The 5 chord is a G.  The 4 chord is a F.

Faith in Hashem's Providence

I am really liking Pandora. Today is my first day trying it because we now have internet. This stuff is so inspirational for me to practice while it is playing in the background. It has occurred to me that all this guitar practice may one day lead to a paying job. However, if I have one student who is successful, - even if it is learning only patterns that help with memory, not necessarily a gig - and has no money, I would take that over several students that were not serious, but padded my bank account. Gd is not money. Work with what you have, money or not, and I have a firm belief that anything is possible with faith.

9th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 6, 2, 3.

If at any time you are experiencing pain during the exercise, please stop playing.

1:1:2:9:1:a – The first note - Root

With your pinky finger, play an E note at the 12^th fret of the 1^st string (the thickest string).  This place on the fret board is usually designated with a double dot marking.  The E is the root note and the key.

1:1:2:9:1:b – The second note - 6

With your index finger, play a C# at the 9^th fret of the 1^st string.  This note is a 6 interval.

1:1:2:9:1:c – The third note - 2

With your index finger, play a F# at the 9^th fret of the 2^nd string (the second thickest string).  This note is a 2 interval.

1:1:2:9:1:d – The fourth note – 3

With your ring finger, play a G# at the 11^th fret of the 2^nd string.  It is a 3 interval.

1:1:2:9:1:e

Repeat this pattern until you get up to speed.

It is a good idea to play with all down strokes or alternate picking or use palm muting.

1:1:2:9:2

Play the same pattern a half step lower, the key of D#.  Moving this pattern up and down the fret board causes key changes.

1^st string 11^th fret using the pinky finger (root).

1^st string 8^th fret using the index finger (6^th interval).

2^nd string 8^th fret using the index finger (2^nd interval).

2^nd string 10^th fret using the ring finger (3^rd interval).

1:1:2:9:3

Play the same pattern a half step lower, the key of D.  This sequence will follow the established pattern:

1^st string 10^th fret using the pinky finger (root).

1^st string 7^th fret using the index finger (6^th interval).

2^nd string 7^th fret using the index finger (2^nd interval).

2^nd string 9^th fret using the ring finger (3^rd interval).

1:1:2:9:4  Repeat this pattern moving up and down the fret board either changing keys in order to develop speed and fluidity.

1:1:2:9:5 Information about the lesson title, which is 1:1:2:9

The first 1  of 1:1:2:9 refers to that this lesson belongs to the following group: “1^st 1^st Position Pentatonic Soloing Drills: Mega Lesson Syllabus for 2 String Play of Single Notes”

The second 1 of 1:1:2:9 refers to that this lesson belongs to the subheading: “1^st Almost Killing the 1^st Position Blues Pentatonic Scales in 4s on the 1^st and 2^nd Strings.”

The third number in the sequence 1:1:2:9, a 2, refers to that this lesson belongs that this lesson additionally belongs the subheading, “2^nd 20 Lessons for Mode 2 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1”

The fourth number in the sequence 1:1:2:9 refers to the lesson title, which is “9^th Blues Pentatonic Drill: 2 Fattest Strings.  Mode 2, Position 1. Root, 6, 2, 3.”

The lessons of the 1:1:2 series select from the intervals: 6, root, 2, and 3 on the 2 fattest strings.  This is the 2^nd mode of the 1^st position of the common pentatonic scale.

In the key of E minor the pattern for the first position is

1^st string; 12^th and 9^th fret

2^nd string; 11^th and 9^th fret

3^rd string; 11^th and 9^th fret

4^th string; 11^th and 9^th fret

5^th string; 12^th and 9^th fret

6^th string; 12^th and 9^th fret

We are only working on the 1^st and 2^nd string, the two fattest strings, and the root note for this pattern starts at the 12^th fret.

Intervals are written with respect to a 7 note Ionian major scale, not a 5 note scale.

Craig Hamilton’s Favored Eclectic Mix of Guitar Heavy Albums in Time for Holiday Shopping

Kings of Damnation Era by Black Label Society           20^th Century Masters by B.B. King

Prime Cuts by Shadow Gallery                                     Alive in America by Steely Dan

Full House by Wes Mongomery                                    Live at Yoshi’s by Pat Martino

Tribute by Ozzy Osbourne                                Birds of Fire by the Mahavishnu Orchestra

The Perfect Element by Pain of Salvation                       the Best of Santan by Santana

Coda by Led Zeppelin                                                   Parallax by Greg Howe

School Days by Stanley Clarke                                   Maximum Security by Tony MacAlpine

Greatest Hits of the 20^th Century by Bela Fleck and the Flecktones

Now by Lenny Breau                                                      It Is What It Is by Mike Stern

Departure by Gary Burton & Friends                              Another Lifetime by Simon Philips

Self-titled by Niacin                                                   Then Best of Chick Corea (Blue Note)

…And Justice for All by Metallica                                   Ride the Lightning by Metallica

Fear of the Dark by Iron Maiden                                  7^th Son of a 7^th Son by Iron Maiden

Secrets by Allan Holdsworth                                          Metal Fatigue by Allan Holdsworth

Virtuoso 2 by Joe Pass                                                   Virtuoso 3 by Joe3 Pass

Fire Garden by Steve Vai                                                Sex and Religion by Steve Vai

The Abbey Road EP by the Red Hot Chili Peppers

The Uplift MOFO Party Plan by the Red Hot Chili Peppers

Rust in Peace by Megadeth                                        United Abominations by Megadeth

Into the Electric Castle by Ayreon                                    The Human Equation by Ayreon

III Sides to Every Story by Extreme                                 II Pornograffitti by Extreme

Outbreak by Dennis Chambers                                        Uncle Moe’s Space Ranch

Poets and Madmen by Savatage                                      Handful of Rain by Savatage

Works for Me by John Scofield                                      Up All Night by John Scofield

The Divine Wings of Tragedy by Symphony X                 The Odyssey by Symphony X

Twilight in Olympus by Symphony X

Ten by Pearl Jam                                                              Yield by Pearl Jam

No Code by Pearl Jam

Bill Frisell, Dave Holland, Elvin Jones                                Blues Dream by Bill Frisell

Live by Bill Frisell

Greatest Hits by Queensryche                                            Empire by Queensryche

Here in the Now Frontier by Queensryche

Stardust We Are by the Flower Kings                                Retropolis by the Flower Kings

Back In the World of Adventures by the Flower Kings

Space Revolver by the Flower Kings                           The Rainmaker by the Flower Kings

In Absentia by Porcupine Tree                                     Lightbulb Sun by Porcupine Tree

Deadwing by Porcupine Tree                                    Grace for Drowning by Steven Wilson

Islands by King Crimson                                       Lark’s Tongues In Aspic by King Crimson

Red by King Crimson                                             The Power to Believe by King Crimson

In the Wake of Poseidon by King Crimson

In the Court of the Crimson King by King Crimson

Secret Story by Pat Metheny                                               99 00 by the Pat Metheny Trio

Speaking of Now by the Pat Metheny Group         Imaginary Day by the Pat Metheny Group

I Can See Your House from Here by John Scofield & Pat Metheny

Question and Answer by Pat Metheny, Dave Holland, Roy Haynes

Like Minds by Chick Corea, Gary Burton, Pat Metheny, Roy Haynes, Dave Holland

What If by the Dixie Dregs                                         Dregs of Earth by the Dixie Dregs

Industry Standard by the Dixie Dregs                              Full Circle by the Dixie Dregs

Free Fall by the Dixie Dregs                                       Unsung Heroes by the Dixie Dregs

Coast to Coast by Steve Morse                                   High Tension Wires by Steve Morse

The Raven That Refused to Sing by Steven Wilson

Black Clouds and Silver Linings by Dream Theater         Train of Thought by Dream Theater

A Dramatic Turn of Events by Dream Theater                  Dream Theater by Dream Theater

Metropolis PT.2: Scenes from a Memory                    Falling into Infinity by Dream Theater

Octavarium by Dream Theater                                                Awake by Dream Theater

4 Degrees of Radio Edits by Dream Theater                  Systematic Chaos by Dream Theater

When Dream and Day Unite by Dream Theater               Notes on a Dream by Jordan Rudess
Score disc 1 by Dream Theater                                 Suspended Animation by John Petrucci