Guitar virtuoso Jason Richardson recently addressed a long-standing debate within the guitar community: the value and role of music theory in creative expression. While some musicians advocate for rigorous theoretical knowledge and others favor relying purely on ear training, Richardson presents a balanced perspective that echoes views shared by other renowned guitarists.
In a recent interview with Guitar World, Richardson emphasized that while music theory is undoubtedly helpful — especially when it comes to speeding up the songwriting process — it is not essential for crafting compelling music.
“Theory is important because it helps expedite the writing process, but it’s obviously not a necessity,” he explained. “I know plenty of players who write the craziest-sounding stuff, and some of them don’t know anything about theory.”
Richardson also touched on the idea that, for some artists, not knowing theory may even be advantageous. Without the constraints of formal rules, these players are guided solely by what sounds right to them, potentially leading to more original and instinctive compositions.
“The bluntest way I’ve ever heard it put is this: Al Di Meola was at one of the John Petrucci camps [John Petrucci’s Guitar Universe] and he said, ‘Learn as much theory as you possibly can and then forget it!’ That way it’s subconscious; it’s in the back of your head, not the front.”
He further clarified that music theory should be viewed as a supportive framework rather than a strict doctrine:
“Remember, it’s called music theory, not law. It’s just there to guide you, to be a suggestion and help make things work better together with each other.”
Richardson’s comments echo the sentiments of other iconic players. A few months ago, Zakk Wylde discussed a similar mindset shared by jazz fusion legend John McLaughlin. Wylde likened the use of theory in music to grammar in spoken language:
“It’s just like John McLaughlin always said, ‘You learn all your theory, and you learn everything like that.’ But even John McLaughlin said, ‘But when I’m soloing, I’m not even thinking [of theory].'”
“It’s just like when you’re talking; you don’t think [about the grammar] when you’re talking. You just learn the language, and then you speak. It just naturally comes out.”
Ultimately, Richardson champions a flexible, individualized approach. For him, theory is a powerful tool that can enhance creativity — but not a mandatory one. Whether guided by formal training or by instinct, the goal remains the same: to make great music.
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