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Wayne Krantz's "An Improvisor's OS"

 
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alexkhan



Joined: 10 Sep 2004
Posts: 2783
Location: Chino, CA

PostPosted: Tue Mar 01, 2005 1:34 am    Post subject: Wayne Krantz's "An Improvisor's OS" Reply with quote

Wayne Krantz has just published a very interesting book titled "An Improvisor's OS" that you can purchase from his website:

www.waynekrantz.com

OS stands for Operating System. D'oh!

It's a very iconoclastic approach that challenges you to literally discard all the traditional ways of studying improvisation, i.e., scales, although if you know a lot of scales, the concept of "formulas" expounded by Wayne shouldn't be difficult to accept and put to use.

This book is for the fairly advanced player who is seeking to break out of ruts and look at the fingerboard from a different perspective that is laid out by a master improvisor. It reminds me of Mick Goodrick's "The Advancing Guitarist" in a way, but focuses on linear applications with some fresh perspectives. I'm going to make sure Guthrie gets his hands on one of these as I know Guthrie is a fan of Wayne's. Highly recommended for the ones who want a mind-twisting challenge of looking at the fingerboard.
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frankus



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PostPosted: Tue Mar 01, 2005 11:53 am    Post subject: Reply with quote

When it says formulas does it mean stuff like:


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alexkhan



Joined: 10 Sep 2004
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PostPosted: Tue Mar 01, 2005 7:59 pm    Post subject: Reply with quote

frankus wrote:
When it says formulas does it mean stuff like:



Yeah, something like that, but probably a lot more complex. Wink I'm actually half-serious because what Wayne lays out can be juxtaposed and rearranged into building blocks for improvisation in a virtually limitless manner.

Some example formulas are:

Three-Note

1 b3 6
1 4 b6

Four-Note

1 b2 4 b5
1 b3 4 b7
1 b6 b7 7

Five-Note

1 b2 3 b5 5
1 4 b5 6 7
1 b6 6 b7 7

Six-Note

1 b2 2 3 b5 6
1 2 3 4 b5 b7

On and on to 11-Note formulas and 12 (which is essentially the chromatic scale. There are 2048 formulas there and it could be in any key. Wayne describes each sequence of numbers describing a unique tonality. After all of the formulas are listed, Wayne goes into the applications of how they could be put to use in a very Zen-like manner. Wayne says:

"The concepts described here give a lot of creative leeway to the practicer while still enabling a thorough look at what's possible."

It's really about exploring all the possible note sequences, intervals, the colors of such tonalities, and how you can take the formulas and solve a problem with an elegant answer - i.e., improvising creatively and freely over given set of changes.
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Carlo



Joined: 13 Sep 2004
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PostPosted: Wed Mar 02, 2005 3:54 am    Post subject: Reply with quote

I am intrigued by this. I think I will pick it up.

I don't how much I'll get out of this book but I love reading these types of "theory" books. Plus, my improvising still sucks, so I'll take any advice or insight that I can about the subject. Smile
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alexkhan



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PostPosted: Wed Mar 02, 2005 4:52 am    Post subject: Reply with quote

Carlo wrote:
I am intrigued by this. I think I will pick it up.

I don't how much I'll get out of this book but I love reading these types of "theory" books. Plus, my improvising still sucks, so I'll take any advice or insight that I can about the subject. Smile


You want to take a long term approach with this book. It's about a different perspective from the same ole scales-chords-arpeggios type of a relationship. It's about breaking down commonly-held perceptions and methods with a new interesting approach. Believe me, there's a lifetime's worth of things to work on with this book. I'm going to make sure Guthrie gets his hands on one. I think he'd get a lot out of it by simply aborbing the different perspective.
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frankus



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PostPosted: Wed Mar 02, 2005 11:10 am    Post subject: Reply with quote

I don't think I'm ready for that yet Sad
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Alun



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PostPosted: Wed Mar 02, 2005 7:40 pm    Post subject: Reply with quote

From the examples Ed's posted, it looks like a more understandable version of the Nicolas Slominsky Thesaurus of Scales and Melodic Patterns which does a similar thing but without any real explanation. It just gives you every possible combination of notes (in standard notation)and it's up to decide what to do with it.

The ideas in the Slominsky book are superb but it is hard going. If the Krantz one makes it more manageable then it's probably worth a look.

Alun
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alexkhan



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PostPosted: Wed Mar 02, 2005 10:39 pm    Post subject: Reply with quote

Alun wrote:
From the examples Ed's posted, it looks like a more understandable version of the Nicolas Slominsky Thesaurus of Scales and Melodic Patterns which does a similar thing but without any real explanation. It just gives you every possible combination of notes (in standard notation)and it's up to decide what to do with it.

The ideas in the Slominsky book are superb but it is hard going. If the Krantz one makes it more manageable then it's probably worth a look.

Alun


Hey Alun, you got the gist of it. I have that book as well and it's a bear to tackle. This book lays out every possible sequence of notes in the 12-note chromatic scale and challenges you to using them in a musical manner. What Wayne emphasizes is that you look at each "formula" as a tonality that can be used in any key. Yeah, the book itself isn't imposing at all - a small paperback of 80 pages that you'd want to refer to over and over again.
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shredrulez
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PostPosted: Thu Mar 03, 2005 5:23 am    Post subject: Reply with quote

woah, so 2048 formulas in each key means 24,576 possible formulas that can be played on the guitar (or whatever other instrument), huh? Shocked
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Mirth



Joined: 25 Jan 2005
Posts: 160
Location: USA

PostPosted: Fri Mar 04, 2005 4:44 am    Post subject: Reply with quote

I saw this the other day checking out waynes site, I will definetly have to pick this up.
I missed a chance to study with wayne when I was in NY, doh! I knew a couple guys who were, I was studying, however with stick master "steve adelson" which I learned a lot with. But I always think, "man I should have hooked up with wayne." BTW Keith Carlock is simply incredible, when he's playing with wayne, you nearly forget wayne is there.
Wayne is great saw him many times in NYC.

Tim
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