Chords for Wayne Krantz - LCCM Guitar Masterclass 2014
Tempo:
120.25 bpm
Chords used:
Em
G
E
A
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C] [G] [Em]
[E] [D] [B] [Em]
[Bm] [G]
[Em]
[A] [Em] I had it in my mind that [A] [C] the people that were inspiring me and [G] that had [B] inspired me were
[Em] people that had managed to carve out their own way of doing things.
The [Am] way for me [B] to come up with [G#m] something more personal.
And to do that I had to turn away [Am] from what was influencing me at the [Dm] time.
[D] [G]
[D] When I played, [Am] like if anything was, [G] [E] anything that sounded derivative to me or referred
to other people, I would stop playing it.
[Bm] [Em] [F#] [E]
[C#m] I [G] started writing in a way that didn't really factor in the good writing.
[Bm]
And it was really through the writing, because what I found was once I got rid of all my
[Em] influences and things that I [A] was using that other [G] people had presented to me, there really
wasn't much [Em] left.
I didn't really have [G] much to play [C] for a while.
And so I started writing, [Dm] and through the writing I [B] kind of established something that
seemed [G] personal to me, [F#m] which is something that [Em] occurred to me after I thought about
what personal meant for me, [Bm] what I had to [Em] offer personally.
And then I tried to figure out a [D] way to play the music that [C#] I'd written, to [B] improvise [G] with that music.
And that's when I [E] realized that a lot of the kind of more derivative, cliché-oriented
playing, specifically like the whole post-bop thing, connecting sixteenth note [A#] lines, [E] that
kind of playing was not going to work.
So that led me [G] to a more phrase-oriented [Bm] playing.
And then I just developed that.
I just [A] tried to figure out a way to [Em] still be able to deal with the tonality of [A] the day,
but in [Em] a more improvisational way.
And so that ended up being a way, like I had to [D] practice a [E] certain way for that to happen.
I couldn't just [A] rely on the old pattern, because that didn't lead to music.
It just led to [Em] greater facility.
[E] [F#] [G#m]
[E] [D] [B] [Em]
[Bm] [G]
[Em]
[A] [Em] I had it in my mind that [A] [C] the people that were inspiring me and [G] that had [B] inspired me were
[Em] people that had managed to carve out their own way of doing things.
The [Am] way for me [B] to come up with [G#m] something more personal.
And to do that I had to turn away [Am] from what was influencing me at the [Dm] time.
[D] [G]
[D] When I played, [Am] like if anything was, [G] [E] anything that sounded derivative to me or referred
to other people, I would stop playing it.
[Bm] [Em] [F#] [E]
[C#m] I [G] started writing in a way that didn't really factor in the good writing.
[Bm]
And it was really through the writing, because what I found was once I got rid of all my
[Em] influences and things that I [A] was using that other [G] people had presented to me, there really
wasn't much [Em] left.
I didn't really have [G] much to play [C] for a while.
And so I started writing, [Dm] and through the writing I [B] kind of established something that
seemed [G] personal to me, [F#m] which is something that [Em] occurred to me after I thought about
what personal meant for me, [Bm] what I had to [Em] offer personally.
And then I tried to figure out a [D] way to play the music that [C#] I'd written, to [B] improvise [G] with that music.
And that's when I [E] realized that a lot of the kind of more derivative, cliché-oriented
playing, specifically like the whole post-bop thing, connecting sixteenth note [A#] lines, [E] that
kind of playing was not going to work.
So that led me [G] to a more phrase-oriented [Bm] playing.
And then I just developed that.
I just [A] tried to figure out a way to [Em] still be able to deal with the tonality of [A] the day,
but in [Em] a more improvisational way.
And so that ended up being a way, like I had to [D] practice a [E] certain way for that to happen.
I couldn't just [A] rely on the old pattern, because that didn't lead to music.
It just led to [Em] greater facility.
[E] [F#] [G#m]
Key:
Em
G
E
A
D
Em
G
E
_ _ _ [C] _ _ [G] _ _ [Em] _
_ [E] _ [D] _ _ [B] _ _ _ [Em] _
_ _ [Bm] _ _ _ [G] _ _ _
[Em] _ _ _ _ _ _ _ _
[A] _ _ [Em] _ _ _ I had it in my mind that _ _ [A] [C] the people that were inspiring me and [G] that had [B] inspired me were
[Em] people that had managed to carve out their own way of doing things.
The [Am] way for me [B] to come up with [G#m] something more personal.
And to do that I had to turn away [Am] from what was influencing me at the [Dm] time.
[D] _ _ _ _ _ [G] _
_ [D] _ _ _ When I played, [Am] like if anything was, [G] [E] anything that sounded derivative to me or referred
to other people, I would stop playing it. _
[Bm] _ _ _ [Em] _ [F#] _ _ [E] _
[C#m] I [G] started writing in a way that didn't really factor in the good writing.
_ [Bm]
And it was really through the writing, because what I found was once I got rid of all my
[Em] _ influences and things that I [A] was using that other [G] people had presented to me, there really
wasn't much [Em] left.
I didn't really have [G] much to play [C] for a while.
And so I started writing, [Dm] and through the writing I [B] kind of established something that
seemed [G] personal to me, _ [F#m] which is something that [Em] occurred to me after I thought about
what personal meant for me, [Bm] what I had to [Em] offer _ personally.
And _ then I tried to figure out a [D] way to play the music that [C#] I'd written, to [B] improvise [G] with that music.
And that's when I [E] realized that a lot of the kind of more derivative, cliché-oriented
playing, specifically like the whole post-bop thing, connecting sixteenth note [A#] lines, [E] that
kind of playing was not going to work.
So that led me [G] to a more phrase-oriented [Bm] playing.
And then I just developed that.
I just [A] tried to figure out a way to [Em] still be able to deal with the tonality of [A] the day,
but in [Em] a more _ improvisational way.
And so that ended up being a way, like I had to [D] practice a [E] certain way for that to happen.
I couldn't just [A] rely on the old _ pattern, because that didn't lead to music.
It just led to [Em] greater facility.
_ _ _ [E] _ _ _ [F#] _ _ [G#m] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [E] _ [D] _ _ [B] _ _ _ [Em] _
_ _ [Bm] _ _ _ [G] _ _ _
[Em] _ _ _ _ _ _ _ _
[A] _ _ [Em] _ _ _ I had it in my mind that _ _ [A] [C] the people that were inspiring me and [G] that had [B] inspired me were
[Em] people that had managed to carve out their own way of doing things.
The [Am] way for me [B] to come up with [G#m] something more personal.
And to do that I had to turn away [Am] from what was influencing me at the [Dm] time.
[D] _ _ _ _ _ [G] _
_ [D] _ _ _ When I played, [Am] like if anything was, [G] [E] anything that sounded derivative to me or referred
to other people, I would stop playing it. _
[Bm] _ _ _ [Em] _ [F#] _ _ [E] _
[C#m] I [G] started writing in a way that didn't really factor in the good writing.
_ [Bm]
And it was really through the writing, because what I found was once I got rid of all my
[Em] _ influences and things that I [A] was using that other [G] people had presented to me, there really
wasn't much [Em] left.
I didn't really have [G] much to play [C] for a while.
And so I started writing, [Dm] and through the writing I [B] kind of established something that
seemed [G] personal to me, _ [F#m] which is something that [Em] occurred to me after I thought about
what personal meant for me, [Bm] what I had to [Em] offer _ personally.
And _ then I tried to figure out a [D] way to play the music that [C#] I'd written, to [B] improvise [G] with that music.
And that's when I [E] realized that a lot of the kind of more derivative, cliché-oriented
playing, specifically like the whole post-bop thing, connecting sixteenth note [A#] lines, [E] that
kind of playing was not going to work.
So that led me [G] to a more phrase-oriented [Bm] playing.
And then I just developed that.
I just [A] tried to figure out a way to [Em] still be able to deal with the tonality of [A] the day,
but in [Em] a more _ improvisational way.
And so that ended up being a way, like I had to [D] practice a [E] certain way for that to happen.
I couldn't just [A] rely on the old _ pattern, because that didn't lead to music.
It just led to [Em] greater facility.
_ _ _ [E] _ _ _ [F#] _ _ [G#m] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _