![Why Jason Richardson Moved On from His Fixation on Music Theory]](https://backingtracksfullcollection.com/wp-content/uploads/2026/02/Why-Jason-Richardson-Moved-On-from-His-Fixation-on-Music-758x426.jpg "Why Jason Richardson Moved On from His Fixation on Music Theory] 1")
Jason Richardson’s warp-speed alternate-picking runs and mind-bending phrasing have cemented his name as one of the most technically gifted guitarists of his generation, and earned him multiple signature guitars with Ernie Ball Music Man.
The former All That Remains shredder worked his ass off for it. As he tells Guitar World in a new interview, his teenage years were spent woodshedding in lunch breaks, stretching his fingers to widen his finger span, and studying the heck out of music theory.
“It’s theory. It’s not law. That’s what I always like to tell people,” he says. “At one Petrucci camp, Al Di Meola was there, and this is the most blunt and best way I’ve heard it put. He said, ’Learn as much theory as you possibly can, and then forget all of it.’”
In his younger years, Richardson was obsessed – heck, his high school music theory tutor got him to grade other students’ tests. But even he makes the case that theory is a guide; you shouldn’t let it box you into certain note choices or ways of playing.
In fact, years before he heard Di Meola’s words of wisdom, Richardson had had his own theory epiphany.
“I made that disconnect for myself when I was still in Born of Osiris, and we were working on [2011 album] The Discovery. I found out some of my favorite star players at the time – I’m not gonna name any names – but there were some people who sound like they have to know everything about theory, and then you find out they actually don’t really know much at all. They’re just playing what sounds good.
“That’s when I first had that moment. I was like, “Wait a sec. What? No! I’m just gonna play it if it sounds good.” Now I just worry about what shit’s called later when I have to transcribe it and sell it. [laughs]”
Theory is still an essential part of Richardson’s skill set, especially when transcribing film scores – such as his dizzying version of John Williams’ Hedwig’s Theme. But it plays a useful role in his day-to-day composing, too.
“It streamlines harmonies and counterparts. If I want to harmonize a shred run, if I’m playing Ionian, and I just play Phrygian over top of it, and then I have a 3rd the whole time. There’s no hunting for the right note – I just automatically have an idea of what’s going to work best with that.”
Last month, Richardson premiered an eight-string version of his Ernie Ball Music Man signature alongside an updated incarnation of the cut-price Sterling by Music Man model.
