OPEN TO OPTIONS

How to put the open-string chord-voicing prowess of Wayne Krantz to work.

- CHRIS BUONO

IT’S SAFE TO say your first moments with a guitar probably involved one or more open strings, courtesy of the handful of 1st-position open chords (a.k.a. cowboy chords) that we all became acquainted with early on. Stalwarts such as open E, C and G shapes were reasonably playable, but even better, they sounded full and lively. As you started to learn an assemblage of tunes from your favorite bands and players, you discovered that open chords, as well as open strings in general, are everywhere. Here’s why: There’s nary a note on your guitar that sounds as full and vibrant as an open string. Go further down the open-string rabbit hole and you’ll find other benefits they provide, such as giving your playing a more modern sound, with added depth and color. Some of my favorite ways to use open strings to these ends were gleaned from one of my all-time favorite guitarists, the great Wayne Krantz.

If you’re new to Krantz, allow me to remedy that. He is a musical beacon of light among forward-thinking guitarists whose passion is improvised music centered on the deepest of pockets. While Krantz has a distinguished résumé of sideman work with various artists, such as Steely Dan, Michael Brecker, Billy Cobham, Leni Stern and others, his impact is more realized through his own work. Jumping onto the scene as a leader with his 1990 album, Signals, it quickly became evident that Krantz had a signature six-string voice.