MacAlpine Signature Leads
Rock Tactics & Pentatonic Flavors
Secrets of Melodic Rock
The 15 Rules of Rock
Featuring complete, tactical courses from Tony MacAlpine, Tony Martinez, Irene Ketikidi, and Prashant Aswani. First up, learn the 15 rules of rock with Prashant Aswani. With a firm footing established, move on to master the pentatonic scale with Tony Martinez where clean and flavorful, yet dirty and nasty sounding playing is the goal. Irene Ketikidi shows the softer side with secrets of melodic rock where even the rawest emotion can still sound beautiful. And lastly, rock god Tony MacAlpine provides and in-depth look at fusing the elements of jazz, progressive rock, and classical music together.
This is a full, 22+ hour collection featuring 124 step-by-step lessons with full supplemental content.
Filmed with 6 cameras and stream in awesome 4k video quality and downloadable in 1080p.
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Know what to practice after each lesson with guided suggestions, tabs, jamtracks and more.
Know what to practice after each lesson with guided suggestions, tabs, jamtracks and more.
The Rock Collection features 124 lessons and 22+ hours of video.
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Taught by Tony MacAlpine
Tony MacAlpine defines modern musical virtuosity. Fusing the elements of jazz, progressive rock, and classical music, Tony has proven that he truly is one of rock's most amazing and versatile musicians. From "Edge of Insanity to "Concrete Gardens", this exclusive Master Course will cover the 30 signature styles of Tony MacAlpine.
Get a taste of what to expect from Tony's Master Course.
Sit back and relax before the mayhem begins! Tony talks about his career and music, and offers some solid advice for the aspiring musician in us all.
Dive head first into Tony’s style with some signature string-skipping action. Tony’s string skipping technique is unmistakably recognizable and this short passage is a great place to start when working on this kind of playing.
The driving, staccato rhythm found in Concrete Gardens will make you feel like a superhero. Tony keeps things efficient with alternate picking, and crisp with the use of palm muting.
Using a sequential idea repeated on different sets of strings, Tony shares another idea that requires not only some strategic picking, but also some key hammer-ons, in order to make it flow correctly.
While the drums and rhythm guitar are driving like a freight train, Tony throws this clean, chorus laden tone over the top, creating a rich texture that he likes to refer to as “icing on the cake.”
This motif is sure to make your head spin. It goes up as it goes down, is highly syncopated, and is utilizing the dirty, low 7-string sound.
Get ready to challenge both your brain and your fingers. This line requires quickly switching between finger patterns while maintaining a consistent picking pattern.
Tony has a way of using rhythm and repetition along with complex harmony structures to create things that stick in your ears. There are some seriously weird harmonic ideas going on in this melody. In an important way, the rhythmic consistencies, though odd as well, hold it together and make it approachable.
Let’s rewind a bit and check out the opening rhythm to this fascinating piece. Combining multiple techniques, including muting and hammer-on’s, this line feeds off of and accentuates the bass and drum parts happening in the track.
When applying altered tonalities, you’re intentionally trying change what the normal flow of the music would be. In essence, you’re in one tonal space, but you’re borrowing notes from where the song is going in order to set up what you haven’t played yet! Here, we start in a major key but it begins to sound oddly harmonic minor in the way the chords move under what Tony plays. You’ll hear two big pay off notes in the sequence that bring all the crazy ideas together!
Break away from terrifying guitar ideas in this segment with a simple, catchy melody that outlines the strongest notes in a basic chord progression. Tony plays a good ‘road-trip type’ groove with it, and shares a part of one of his most requested songs. This is a fantastic melody and progression to dive into if you want to gain insights in developing your own melodies. Also, pay careful attention to Tony’s subtle phrasing nuances as he works through the slow and flowing melody.
Tony first outlines the chord progression and explains how it inspired the solo he plays over a passage from his popular song “Dream Mechanism.” He drives home the point that, for him, some of the most inspiring melodies come from simply following where a chord progression wants to go. You’ll hear Tony’s Classically-influenced composition tendencies combined with some great straight ahead rock.
Upon first glance, this line looks and sounds like a raking or sweeping idea. Closer examination by Tony reveals that it can be more fluidly done with legato playing. These arpeggios are what tie the broader melody of the song together, so it is important that they are clean, not too percussive, and sit just right in the groove. They go by fast when played up to tempo so be sure to pour over the meticulous breakdown that Tony offers.
There’s a lot to unpack in this flurry of notes. You’ll be employing three-note-per-string sequencing, precision alternate picking and rapid position shifts. The position shifts actually create an opportunity to have more uniform fingering throughout. Rather than trying to stay in position, the player can simply repeat the same fingering over and over again making faster speeds easier to attain. This is one of those runs that does a great job setting up a soaring target note.
You’ll get to stay in position, play in harmonic minor and utilize some punchy triplet ideas within an otherwise slower sequence. The rhythmic variance is challenging from a picking perspective and it is easy to tense up when trying to harness these short bursts of speed. Tony recommends taking the triplet transitions out of context to practice them first so you get the feel of how the pick is supposed to speed up. Then, when you’ve got these down, work them back into the full sequence.
Tony breaks down a run from his song “Poison Cookies” that has garnered many questions since he introduced it on his album Concrete Gardens. It goes by so fast live and on the record, that it appears to be more complex than it actually is! You’ll notice with Tony’s slow breakdown of the line, that it is largely triad-based and utilizes a strategic blend of legato playing and consecutive picking. Tony also covers the harmony of the chord progression and how it ties into the line itself.
Continuing with his glimpse into the song “Poison Cookies,” Tony looks at the build up to the solo section as an example of repeating rhythmic motifs that move from chord to chord over a progression. The main focus in learning this passage should be on making sure the rhythm is showcased as that is what is going to ‘hook’ the listener’s ear. Part of representing the rhythm correctly means paying particular attention to pick accenting and palm muting, even when the line speeds up towards the end.
Tony examines the chorus outro into the run from his song “Poison Cookies.” When this passage is played live, it is played with multiple guitar players. Tony discusses the keys to locking in with other players, especially in a lead guitar context and highlights several target notes in the line that serve as landing points for all players involved. To get the full effect of this lesson, practice playing with Tony as well as over the backing track.
This catchy line is sure to have you coming back for more. Built off of the open B string, the straightforward rhythm and melodic movement just feel good under your fingers. The string skipping and speed of this line may be challenging, but with some work, you’ll get there. This line really holds the band together, and is a key element to the feel of the song.
With lines like this, many guitar players default to sweep picking. Tony asserts that in this case, these arpeggios really need to be approached with alternate picking in order to get the proper note separation. Sticking with alternate picking also helps to employ some of the other techniques Tony is using in this passage. As he outlines an epic chord progression, you’ll get to incorporate advanced muting techniques and strategic legato playing over an expansive arpeggio line.
Get a crash course in melodic development using what Tony calls a “mini ballad” or a song within a song. The idea is that you create a melodic phrase that stands apart from the rest of the song and make a hook out of it. It not only provides a nice solace in the middle of an otherwise high-intensity environment, but is a fantastic exercise in putting melody first. If you can think of your guitar as a voice, you’ll be one step closer to coming up with great melodies.
Whole tone scales are notoriously difficult to apply. Tony shares a great example of incorporating this scale in his tune “Epic” by emphasising other, more melodic notes not included in the whole tone scale. He also creates a catchy sequence that follows along with other band members. The result is a chaotic yet calculated sound that brings the whole band to a single moment.
The title of this track says it all. The long ringing tones of this rhythmic line are nothing short of epic. While this piece is relatively easy, some of the muting could present a challenge. The harmonies present will also force your ear outside of the box. The band all seems to be doing something different, but holding your own as the guitarist is crucial to achieving the aggressive sound Tony is going for.
Tony uses neighbor tones in this lick to create a smooth, vocal-like line.
Tony teaches portions of the rhythm section from Napolean's Puppet.
Taking parts from Napolean's Puppet, Tony teaches a line that utilizes the whammy bar.
Tony teaches a legato line taken from Napolean's Puppet.
Tony teaches part four from Napolean's Puppet. This one will require a good level of dexterity and knowledge of alternate picking to accomplish.
Tony teaches the solo from King's Rhapsody which encompasses multiple lines simultaneously.
Tony teaches Line 2 of the King's Rhapsody solo which encompasses an ensemble like sound.
Tony uses an octave based melody in lesson 32 to teach the third line of the King's Rhapsody Solo.
Tony MacAlpine puts on a live concert and then answers your questions. Come see amazing live performances of his songs, and hear his distilled wisdom. Tony truly is one of the best guitar players in history.
Meet Tony MacAlpine
The name Tony MacAlpine is synonymous with modern musical virtuosity. Whether performing as a solo artist, band member, session player, touring hired-gun, or as a producer, Tony MacAlpine continues to prove that he truly is one of rock’s most amazing and versatile musicians. He incorporates classical, jazz and fusion influences into the hard rock/metal genre on both guitar and keyboards.
and a number of other band projects. In addition, MacAlpine has contributed both guitar and keyboards to a long list of records by other artists.
MacAlpine continued his extraordinary output into the 90s, with critically acclaimed releases Freedom to Fly (1992), Madness (1993), Premonition (1994) and Evolution (1995), which all remain among his discography’s best sellers. Tony continues to tour, teach and entertain audiences around the globe.
Taught by Tony Martinez
Ever wonder why you can't quite sound like pros when playing from tabs? In this course, Tony Martinez will cover a modern approach to the blues rock style, played with gain, attitude, and intense energy. Tony will cover techniques from vibrato and bends to fast licks and notes designed to spice up your playing. Learn the techniques to make you ready for stages, ready for studio recordings, and ready to rock.
Tony gives us an overview of his course in which he will cover a modern approach to the blues rock style, played with gain, attitude, and infectious energy.
Vibrato is the embodiment of your guitar personality. It will literally identify you to the world of music! In this lesson,Tony gives us the tools that will allow the creation of our own unique sound.
Bending notes that are in tune and accurate doesn't happen by accident! Tony gives us the low down on developing good technique to make your bends overflow with energy and character!
Now that we've zeroed in on what makes a good bend, and how to execute them, we take a look at some not so common bends that will add a level of difficulty!
Let the bending continue! If you thought the previous lesson had tricky bends, check this one out. Tony explores even more wild things you can do with bending!
We've explored the cool and crazy when it comes to bending and vibrato. Now let's put it to the test in the context of a backing track!
Now let's get into pentatonics and the way that Tony looks at them. He will share his approach to the visualization of the scale that will allow you to see the shapes all across the fretboard!
When playing any scale, you want to use it in the most musical way possible. This requires moving around the scale in a manner that might be outside your comfort zone. Tony takes the pentatonic scale and shows us how to NOT sound like a robot, but how to sound musical!
In this lesson, Tony explains his 'key technique' that will help you add speed and fireworks to your pentatonic scales.
Now it's time to explore some fast ascending and descending pentatonic licks.
There's no doubt that you can get a lot of mileage out of the pentatonic scale just as it is. But making some simple additions, some 'spicy' notes if you will, can take you into tonalities that lie just outside of the pentatonics, and will open up unique doors that will make your playing sound much different!
Let's apply those 'spicy' notes in context with some sample licks that use the II and VI.
Of course, using the 'spicy' notes that Tony talked about in the previous lessons works the best when they are used in a tasteful and subtle way. In this lesson, Tony mellows us out a little and shows us how incorporate these notes in a less obvious way.
In this lesson, Tony explains the how using major and minor thirds in unique ways can add cool tonalities to your playing.
The way the thirds in our scales are approached really identifies the kind of energy and intensity you'll hear in those tonalites. Find some unique ways of approach in this lesson from Tony.
Let's approach the application of 'unique thirds' from the opposite angle: minor thirds over major pentatonic tonality.
Now it's time to unpack all of what we've learned in the last few lessons and put it into a cool, high energy solo!
The modes can be a source of confusion for many players. In this lesson, Tony explains his approach to the modes, and how he makes sense of them.
In this lesson, Tony gives his take on three notes per string theory which is the precursor to playing legato.
Now it's time to look at Tony's legato technique. When done correctly, this can be an awesome tool for speed and precision. Tony starts with looking at hand positioning and the proper way to pull off a note.
In this lesson, Tony shows us another unique legato technique that uses often - the 3-1-3 technique.
The 'Z' technique is an arpeggio-like technique that Tony likes to use in his legato playing. Get the lowdown on this impressive variation in legato playing!
The three legato techniques Tony just showed us don't have to exist by themselves. In this lesson, Tony shows us some effective ways to combine these techniques to add another level of 'wow' to your playing!
Time to learn a real world, practical solo that involves a great deal of legato playing. Tony also adds in other techniques including some very cool and unique vibrato that gives the solo a very modern sound!
It's all in the numbers! Tony's approach to intervallic playing stresses the numbers of the notes in the scale, not note names. Join Tony for this unique approach, where visualization is the key!
Tony's hybrid picking was born out of necessity more than anything, as it is with a lot of players. Here, he shows us how to implement the technique, resulting in a very economical picking hand!
In this lesson, Tony looks at pairing different triads in the diatonic chord scale to create some very cool chord comping ideas.
Now it's time to learn how to craft a solo using all the techniques we've learned in the course. Tony has shown us all these techniques, now he will teach us the proper way to 'think' about putting them together!
Chromatics are not just for Jazz players! Tony shows us how to integrate these into rock playing, by thinking of them as space fillers.
To wrap up the course, Tony puts all the techniques we've learned in to one blazing solo!
Meet Tony Martinez
Tony Martinez was born in 1984 on the small spanish island of Mallorca, and began playing music at a very young age. At age 5, he started playing the piano and quickly began playing his first gigs and concerts at the age of 7. A few years later, at the age of just 10 years old, he discovered the guitar and has been playing ever since.
After years of playing by ear and self-examination, he decided he wanted to get more serious and become a real musician. At 17, he finished his medium grade piano studies and started his modern music official studies at the Barcelona Modern Conservatory of Music where he received a scholarship to the Berklee College of Music in Boston. Tony started gigging hard within the Barcelona rock and blues scene and quickly drew some attention of musicians and fans.
Tony has gained a solid reputation through performance and touring, and is an endorser for Suhr Guitars, Wampler pedals, Friedman Amps, Lava Cables, Chris Cambell Strings or Gruv Gear.
Nowadays he splits up his time by doing demos, teaching music and touring with different international artists such as Gloria Gaynor or Marta Sanchez.
Taught by Irene Ketikidi
Irene lays the foundation for melodic rock playing with a primer on scale tone basics, triads and melodic fills.. then provides an in-depth look at how to apply these principles with rock-solid technique, articulation and phrasing. This lays the bedrock for the final leg of this course, where we learn to compose our ideas with thoughtful application of melody, harmony, tension and release, and elegant motifs.
In this first lesson, Irene gives us an overview of her course, laying out her plan to help you create melodies using your voice, bring those melodies to your fingers, add expression, play with different dynamics and shape your guitar tone with both pick and fingers. You'll then be able to apply all these concepts to your improvising as well as your original music!
First things first - let's get back to some basic foundations that will come in handy down the road in this course. Irene starts with the blues scale in different positions and different string sets.
The Dorian scale is one of the most widely used minor scales in any guitarists toolkit. Irene helps us learn to use this critical tool in different positions and string sets.
The Mixolydian scale provides us with interesting tonalities bordering on exotic at times. Getting this foundational scale under your fingers in different positions and string sets will serve you well later in this course!
Irene's selection of the three previous scales was not by accident! These widely used scales will make up a good portion of any rock guitarist's arsenal. In this lesson, Irene takes what we've learned so far and combines the scales for some unique tonalities!
One of the easiest ways to explore melodies is to use the notes surrounding your triad shapes. This lesson helps us explore some major triad shapes and neighboring notes we can access quickly and easily.
Now we look at the minor triad shapes and neighboring notes that we can use to create cool minor melodic fills.
Let's look at some basics of the picking hand. Getting this hand in the correct position for lead playing will help you execute all the scales and melodic ideas Irene will be covering in this series.
Using your fingers creates a very different sound, and a very different mood and dynamic. In this lesson, Irene gives us her take on fingerpicking hand position.
Now it's time to relate our voice to the scales that we know, and in turn our voice will be the vehicle that gets melodies from our head to our fingers!
In this lesson, Irene takes simple 2-bar melodies over chord progressions - singing them first, then bringing them to our fingers.
Irene shows us a sliding exercise that will help us learn our scales all on one string, plus help us learn to be accurate when sliding notes on the fretboard.
Bending can add vocal-like qualities to your playing. Using whole and half step bends alike, Irene shows us how to apply these bends to some of the melodies we've already created.
Legato playing is not only a speed tool, but a tool for getting a different kind of tone from your fingers and your strings. In this lesson, Irene explores the use of hammer ons and pull offs with your fretting hand, without the use of a pick.
Dynamics can be a key component to becoming expressive with your melodies. Irene applies some dynamic expressive techniques using our fingers to the melodies we've already created.
The strings and pickups you choose has a great impact on your tone, dynamics and articulation. Irene takes a look at some different pickup and string combinations that can help you achieve the desired sound.
Diving deeper into articulation, Irene shows us the effect that staccato or legato playing can have on our expression. She also shows us a technique called 'skank' picking.
One more layer of articulation brings us to octave melodies and tapped harmonics. Use these techniques to add another dimension to your expressive melody playing.
In this lesson, Irene shows us how to build up a melody from a very simple idea, and vice versa - break down a more complex melody to it's very core components.
Exploring different feels is the name of the game in this lesson. Change feels while only playing to a click, comparing the differences in mood and sound.
Writing good melodies is not only about the note choices, It's also about the rhythmic phrasing, and recurring rhythms you come up with. Irene shows us how to create a rhythmic motif that will make our melodies and phrases more memorable.
Call and response is a tried and true method to melody and motif writing. Using the motif we explored in the previous lesson, let's develop a 'response' to complete the musical thought.
There are different ways you can use call and response, and one of those ways is to build tension. Learn how to use variances like increasing the difficulty of your technicality, to help you create tension in your motifs.
Melodic ideas can come to you in different ways. Using arpeggiated chord progressions can be one way to explore melodies that are living very near to your chords!
In this lesson, Irene uses the 7th chord arpeggios we learned in a previous lesson to create movement and a key root chord. She then adds the triad approach to get that intervallic playing sound.
Now it's time to practice intervals so we can learn the differences between sound and feel. Irene takes a look at 3rds, 4ths, 5ths, 6ths, 7ths and octaves in the Dorian scale.
Join Irene for the first of three solos composed for this course. First up is 'Beautiful Mind'. She will explain the concepts used, add a slow demonstration, and an 'at tempo' performance.
The second of three solos is 'Cool Run'. Irene breaks down the techniques and concepts she uses in this melodic solo.
Now for solo number 3 - 'Blacktop'. There is a ton of useful techniques, concepts and expressiveness in this solo! Learn the solo, but more importantly, apply the techniques to your own playing!
Part two of 'Blacktop'. Irene teaches us the remainder of the solo, and gives us a chance to practice it with her.
Meet Irene Ketikidi
Irene Ketikidi is a force to be reckoned with in the world of instrumental rock guitar. Her solo album "Martial Arts & Magic Tricks" (2013) received excellent reviews and has been complimented by the likes of Guthrie Govan, Greg Howe, Nita Strauss, Alex Skolnick and David Kilminster. Young Guitar Magazine has included Irene in the "Heroines of Now" column in 2014 and she has been featured in numerous publications such as Guitar World, Guitar Interactive and the Sound Guitar Magazine.
Irene rose to fame in early 2010 with her YouTube video of "Rambler", a track that landed her a place to perform live in front of Steve Vai at his Guitar Nation Masterclass in London later that year. She graduated from London\'s Institute of Contemporary Music Performance and was busy working as a tutor for the International Guitar Foundation summer courses. During the next few years, Irene worked as a session player with various artists from pop (Red N Pink, Cherry Lee Mewis), country (Colm Kirwan, Victoria Shaw, Heidi Feek), hip hop (AKS, J The Exodus), metal (Gravil) and toured extensively with female tributes The Femones (Ramones) and Back:N:Black (AC/DC).
In late 2013, she relocated to Greece, where she spent the next couple of years promoting her solo album release, working as the lead guitarist for Philippos Pliatsikas's show "The other side of blue" and touring with pianist and singer‐songwriter Lia Hide. Eternally in love with Satriani's music and inspired by the G3 tours, she ran and performed at the first Guitar Experience Festival in Athens (2016) with guitarists Anthimos Manti and Sakis Dovolis.
In May 2018, she released her second solo album "A Sky For All", a progressive rock record with mixed blues, fusion and post rock moments, and inspired by real life events. The recordings took place at MD recording studio in Athens, Greece and feature Michael Kapilidis on drums, Kostis Vihos on bass, Makis Tsamkosoglou on keys and Babis Tyropoulos on slide guitar.
Taught by Prashant Aswani
This course features 15 rock songs that are exclusive to JamPlay. Each song will be broken down into rhythm and melody and then dissected in great depth. Beyond that, you will learn how to improvise over JamTracks, write creative melodies and solo sections, learn how to write riffs, and much more. This really is a comprehensive toolbox for instrumental rock players.
Welcome to Rules of Rock: A Backing Track Series - 15 original backing tracks and dozens of inspirational licks and riffs from the mind of Prashant Aswani.
Jumping right in! In this lesson we're going to look at the first track in the series, Blue Sky. We'll be breaking down the arrangement and learning some rhythm ideas to get started.
Now that we know what's going on progression-wise, let's look at some melody ideas for the Blue Sky backing track.
With a punchy rhythm on the verses and long sustaining chords and arpeggios on the chorus, Rush Hour is a piece you're not going to want to put down any time soon.
Join Prashant as he breaks down some melody components that work well over the Rush Hour backing track.
Feeling aggressive? Maybe angry? This tune is perfect for you. Join Prashant as he walks through this driving, aggressive track and teaches some cool riffs that you can integrate into your own playing.
Join Prashant as he walks through the dark, phrygian melody he crafted for this A section of the tune, and then into a more optimistic question and answer movement on the B.
If you haven't had any fun yet, that's about to change. This track is a fun romp utilizing a drop d tuning and a driving rhythmic riff.
This melody creates uses bending and whammy bar to create a soaring lead line with a very vocal feel.
Let's take a look at the rhythm and arrangement for the Break Out backing track!
Now that we've got the rhythm down, let's learn some melody ideas for playing over the Break Out track!
In this lesson we're going to take a look at the rhythm parts for the backing track, Burnin'.
Well, you've mastered the rhythm for Burnin' (hopefully), so let's take a look at some melody ideas!
Ready to slow things down a bit? This track, as it's name denotes, is a great chance to slow down and learn how to use space in your playing.
Join Prashant as he walks through some melodic ideas you can use over the Calm Moment track.
Join Prashant as he walks through his approach to the rhythm of the track, Darkness.
In this lesson, Prashant walks through some melody ideas that could be used over Darkness.
The Lead Nova track is a heavy, driving tune with a metal vibe. Join Prashant as he explains his approach to the rhythm for this track.
Learn some melody ideas that can be used over the dark, chromatic feel of Lead Nova.
In this lesson, Prashant introduces you to the heavy groove track called Meris. Learn some useful riffs to use as a rhythmic element over the track.
The melody for this track takes advantage of doubling the rhythm riff and then adding in some tasty lines in a call and response type interaction.
This repetitive, somewhat funky feeling track, White Paper, has a great vibe and offers a fun detour into a different feel than many of the other tracks in this series.
Now that we've laid down some funky rhythm riffs, we are going to add some soaring melody lines to this groovy track.
This laid back track provides a great setting for using chord melody, as Prashant demonstrates in this lesson.
Chances are, you'll just feel good after listening to this track. Imagine yourself driving along the twisting Californian coast with the windows down and the sun shining, and that's what this melody feels like.
From single note riffs, to arpeggiated chords, and then some hybrid picked chord hits, this song is simple, yet diverse, and is sure to be a good time...stamp.
Learn some new vibey, melody ideas to utilize over the track Time Stamp.
While the rhythm for this track is pretty simple (think repetitive, easy chords), As Prashant explains in the lesson, the challenge comes in keeping steady, robotic sound.
Join Prashant as he shares some more ideas for creating melodies over the track Summer.
We've made it to the last Rock Out track! Shackles, is a ready, steady rock'n'roll tune with a catchy, repetitive riff that's a lot of fun to play!
Here are some great melody ideas for the track, Shackles!
Meet Prashant Aswani
Few musicians can say they’ve had such a diverse background in music, ranging from Indian classical to rock fusion, and many genres in between. Even fewer can say they recorded their first solo album
while still attending Berklee College of Music. Prashant Aswani, however, can attest to these, and even more, jaw-dropping experiences.
Prashant began his inspiring musical career at a very young age. He began playing tabla guitar at the age of eight, and took weekly lessons for the next five years. But it was the acoustic guitar Prashant received at the age of 13 that has ultimately shaped his career, and he hasn’t put it down since. Almost immediately, Prashant began writing music. In high school, Prashant joined the Lexington High School Jazz Band, instructed by Jeff Leonard. Leonard took an interest in Prashant, and began teaching him how to read chords and charts, which was his first formal training in guitar. Throughout his childhood, Prashant found influences in Zakir Hussain, AC/DC, Rush, Led Zeppelin, Randy Rhodes, and Yngwie Malmsteen, to name a few.
After high school, Prashant attended Berklee College of Music, and received the Guitar Night honors for rock fusion. He has opened for Andy Timmons, John Petrucci, and Steve Morse while performing at the Berklee Performance Center. During his time at Berklee, Prashant began recording his compositions, demoing “Blizzard,” “Hiding Under the Covers,” and “Data.” Mark Varney of Legato Records became interested in the project, and Prashant went on to record his first solo album entitled “Revelation,” produced by Greg Howe.
Since recording “Revelation,” Prashant has become a worldwide sensation. “Revelation” was re-released by Virtuoso Records in 1998, and by SoundHolic Records in 1999 in Japan. He began doing clinics/concerts and writing guitar columns for Italy’s biggest magazine, Axe Guitar Magazine. He has been featured in print around the world, including Young Guitar Magazine.
Prashant has toured and recorded with Justin Timberlake, Christins Milian, Herbie Hancock, Steve Gadd, Darrell Diaz, Greg Howe, Aj Mclean, Jose Pasillas, Rhonda Smith, and has recorded Four Solo albums. Currently, Prashant is the featured artist on iFrankenstein Movie Soundtrack (Lakeshore Entertainment) and is Producing AJ Mclean’s(Back Street Boys) solo album. In addition he is currently recording his fifth solo album with Jose Pasillas (Incubus) and Rhonda Smith (Prince, Jeff Beck).