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Wayne Krantz

Guitar World Member For: 2 years 6 weeks
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All That Jazz: Unconventional Blues Connotations, and How to Play "Jeff Beck"

The following content is related to the March 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

All That Jazz: More on My Songwriting Process, and How to Play “War Torn Johnny,” Part Two

In last month’s column, I discussed my songwriting process, using the track “War Torn Johnny,” from the Krantz Carlock Lefebvre album, as a case study. As I explained, my overall approach to composing music is pretty much in line with a standard pop-style songwriting approach of developing intros, verses, pre-choruses, choruses and bridges (every song is, of course, a little different), and “War Torn Johnny” was constructed along these lines. This month, I’d like to present the tune’s bridge section.

All That Jazz: The Art of Songwriting, and How to Play “War Torn Johnny,” Part One

This month, I’d like to address the sometimes tricky process of songwriting. Most of my songs start as a germ of an idea that comes to me during an improvisation. I’ll have a cool little nugget of “stuff” that catches my interest enough that I am inspired to investigate it further and perhaps forge a composition from it.

All That Jazz: More Tips on Working with a Metronome, Plus an Unusual Scale

Last month I addressed the time-honored routine of practicing to a metronome and detailed what I consider to be the most beneficial way to work with a “click,” as the device is also called. As you recall, the approach involves recording then listening back to yourself playing along with a click. This is an essential part of the learning process in that it is the only way to objectively assess, without the mental preoccupation/distraction, the manner in which you relate to the mechanized beat.

All That Jazz: Concepts for Expanding on Funk Rhythm Guitar

Over my past two columns, I've been investigating different approaches to improvisation on the guitar, specifically addressing ways to combine chordal and single-note-line ideas effectively to create rhythm parts that are both harmonically and rhythmically interesting and inspired.

The most important part of this process is to find a way to do this as instantly and spontaneously as possible, and this is true for anything this is truly improvisational.