The Power of 3 Notes
Horace Bray Unlocks the Fretboard with Triads
As guitarists, we tend to memorize shapes without ever really knowing why. The goal of this course is to provide guitarists with the
fundamentals to “see” the skeletal structure of the chords and scales they already know, in order to unlock new shapes and sounds.
Horace Bray delivers an all-encompassing course on triads; one of the cornerstones of unlocking melody and harmony across the neck.
Want to open up the fretboard or experiment with new sounds? If so, this course was built for you. Learn more or start the course with membership, or get lifetime access with purchase.
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The Chords & Grooves Course Collection
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This course is a part of our Chords & Grooves Course Collection, featuring 4 artists addressing this popular topic. Featuring courses from Tim Stewart, Horace Bray , Monte Pittman and Horace Bray. Save $100 on this Collection during Black Friday.
View the CollectionUnlock Your Chords
Break out of your shape-based knowledge.
Horace offers a fresh approach for becoming a more cerebral guitarist. We will learn the basic open and closed triad shapes, discover how to use them together to “push and pull” the harmony, and give examples on how to create new 3 note clusters to describe more modern sounds.
Suited for Guitarists of All Skill Levels
1
Series Introduction
JamPlay introduces Horace Bray. Playing guitar since the age of 14, Horace initially sighted Jimmy Page and Jeff Beck as influences before discovering Jazz in high school. In this series Horace delves deep into triads as they relate to various genres. Each lesson is equipped with tabs, diagrams, and short exercises to get them under your fingers.
Closed G Major Triads
2
G Major Triads for Bottom Strings (6-4)
Horace gets right to it teaching closed G major triads in all three inversions. You start by focusing on the 6th, 5th and 4th string groupings. These shapes will form the basis moving forward.
3
G Major Triads for Middle Strings (5-3)
Horace continues his teaching on the closed G Major triads. Just like the previous lesson, you will learn these shapes for root, 1st and 3rd position. These triads will be on the 5th, 4th and 3rd string group.
4
G Major Triads for Middle Strings (4-2)
We continue on the closed G Major triads. Just like the previous lesson, you will learn these shapes for root, 1st and 3rd position. These triads will be on the 4th, 3rd and 2nd string group.
5
G Major Triads for Top Strings (3-1)
And finally, we move to the 3rd, 2nd and 1st strings to finalize our movement across the strings. These will require some practice and memorization before moving to our next lesson.
6
Arpeggio Connector with Exercise
Now that you have learned the G major closed triads across the neck and in all inversions, it's time to apply these as arpeggios. Horace discusses the arpeggio and ways to play them across the neck. The goal is to help you get a grasp of how to connect the individual triads into bigger arpeggios, emphasising the importance of “using your ear” and how to not get boxed in.
Open G Major Triads
7
Open G Major Triads - Bottom Strings (6-3)
Horace teaches the open G major triad groupings with exercises and examples. Unlike the closed voicing G major triads, the open voicings will cover four instead of three strings. To start you will learn the voicings for the 6th, 5th, 4th and 3rd string group.
8
Open G Major Triads - Middle Strings (5-2)
Horace continues to teach the open voicing G major triads and the root, 1st and 2nd inversion. This time on the 5th, 4th, 3rd and 2nd string group. We will talk about the different fingerings and ways to practice the shapes.
9
Open G Major Triads - Top Strings (4-1)
And lastly.. you guessed it, triads on the final top strings. Hopefully by now you are beginning to recognize how these are formed, and have been following the advice on how to "get them under your fingers" with provided examples.
10
Major Arpeggio Practice Etude
Horace provides a short etude on how to practice connecting the different shapes of the G Major open triads. This helps you visualize the shapes together as well as helps with right hand picking. Use the provided tabs and start slowly!
Closed A Minor Triads
11
Closed A Minor Triads for Bottom Strings (6-4)
It is time to start looking at minor triad voicings. To get started, Horace will teach the root, 1st and 2nd inversions of the A minor closed triads. Like the G major closed triads, you will start with the 6th, 5th and 4th string group. Reference the provided tabs for your practice sessions.
12
Closed A Minor Triads for Middle Strings (5-3)
Lesson 12 picks up the A minor closed triads, now starting on the 5th, 4th and 3rd string group. Just like the previous lesson, you will be learning the closed triad voicings in root, 1st and 2nd inversion.
13
Closed A Minor Triads for Middle Strings (4-2)
We move to the next set of strings, with the 4th, 3rd and 2nd. By now, you will start to see the differences between minor and major shapes.
14
Closed A Minor Triads for Top Strings (3-1)
Lesson 14 picks up the A minor closed triads, now starting on the 3rd, 2nd and 1st string group. Be sure to begin comparing these to the major patterns we learned in the last grouping.
15
Minor Arpeggio Etude
Finally we use another etude to practice connecting these shapes, and more importantly, the function of each triad across the neck. Refer to the provided tabs for independent practice.
Open A Minor Triads
16
Open A Minor Triads for Bottom Strings (6-3)
As you did previously, lesson 16 looks at open voiced triads, this time for A minor. Learn the shapes and fingerings for the root, 1st and 2nd inversion open A minor triads, starting on the 6th, 5th, 4th and 3rd string group.
17
Open A Minor Triads for Middle Strings (5-2)
Lesson 17 continues your learning of the open A minor triad voicings. Learn the root, 1st and 2nd inversion voicings, this time on the 5th, 4th, 3rd and 2nd string grouping.
18
Open A Minor Triads for Middle Strings (4-1)
Are you seeing the patterns? Moving to the 4th, 3rd, 2nd and 1st strings, we will again learn the root, 1st, and 2nd inversions.
19
Minor Arpeggio Exercise
Now that you have learned the A minor open voicing triads, we transfer that knowledge to open minor arpeggios. Just like with the closed voice, minor triad arpeggios, you will be playing along with Horace to apply what you have learned.
Making Connections
20
Closed Triad Pairings
Lesson 20 starts to look at harmonic movement between chords. Using the G major and A minor closed triad voicings, Horace discusses using both of these to create interesting harmonic movement. You will review the shapes, then practice a quick example.
21
Open Triad Pairings
Just like the previous lesson, you will now be looking at triad pairs for the open voicings of G major and A minor. Once again, Horace will review the open voiced shapes, then provide examples on how to create harmonic movement with the different triads.
22
Change One Note!
Horace introduces the concept of making a single note change to the triad formation to create an entirely new triad. You will be utilizing this concept in the next section of learning for this course.
G Major Clusters
23
Clusters for Bottom Strings (6-4)
Now that Horace has gone over the 1, 3, 4 cluster in the previous lesson, it's time to start taking a look at these voicings in root, 1st and 2nd inversion. This lesson will start with the 6th, 5th and 4th string group.
24
Clusters for Middle Strings (5-3)
We pick up the 1-3-4 cluster learning that you started in the previous lesson. Learn the cluster voicings for root, 1st and 2nd inversion, this time for the 5th, 4th and 3rd string grouping.
25
Clusters for Middle Strings (4-2)
We move to the next set of strings, with the 4th, 3rd and 2nd. By now, you will start to see the differences between minor and major shapes.
26
Clusters for Top Strings (3-1)
Lesson 26 picks up the 1-3-4 cluster learning that you started in lesson 25. Here, we learn the cluster voicings for root, 1st and 2nd inversion, this time for the 3rd, 2nd and 1st string grouping.
27
G Major 1-3-4 Arpeggio Connector
To start off, Horace will discuss the 3 note groupings for chords 1, 3 and 4 as well as how to arpeggiate them. He will follow up with a more advanced arpeggio pattern based on the original pattern discussed. Tabs are provided to work through both ascending and descending the lines.
G Major Landing Points
28
The Landing Points for 1-3-4
Now that we have looked at closed and open cluster voicings in the previous lessons, Horace discusses "Landing Points" for those voicings. He provides examples and discusses the concept.
29
1-3-4 Open Example #1
We take the concepts learned in the previous cluster lessons, but this time from an open 1-3-4 perspective. Horace will provide play along examples to help get these under your fingers.
30
1-3-4 Open Example #2
Horace provides another example of how landing points function within triads.
31
1-3-4 Open Example #3
A final example demonstrating this concept. Refer to the provided tab to navigate the fretboard and perfect these concepts.
A Minor Clusters
32
Clusters for Bottom Strings (6-4)
Now that Horace has gone over the 1, b3, 4 cluster in the previous lesson, it's time to start taking a look at these voicings in root, 1st and 2nd inversion. This lesson will start with the 6th, 5th and 4th string group.
33
Clusters for Middle Strings (5-3)
Lesson 33 picks up the 1-b3-4 cluster learning that you started in the previous lesson. Learn the cluster voicings for root, 1st and 2nd inversion, this time for the 5th, 4th and 3rd string grouping.
34
Clusters for Middle Strings (4-2)
We move to the next set of strings, with the 4th, 3rd and 2nd. By now, you will start to see the differences between minor and major shapes.
35
Clusters for Top Strings (3-1)
Lesson 35 picks up the 1-b3-4 cluster learning that you started on Lesson 33. Learn the cluster voicings for root, 1st and 2nd inversion, this time for the 3rd, 2nd and 1st string grouping.
36
A Minor 1-b3-4 Arpeggio Connector
Horace discusses the 3 note groupings for the 1-b3-4 A minor arpeggio. Just like lesson 23 that covers the G major arpeggio, Horace will provide examples to help you with this concept.
A Minor Landing Points
37
The Landing Points for 1-b3-4
Now that we have looked at closed and open cluster voicings for A minor, in the previous lessons, Horace discusses "Landing Points" for those voicings. He provides examples and discusses the concept.
38
A Minor Open Example #1
In lesson 38, we take the concepts learned in the previous cluster lessons, but this time from an open 1-b3-4 perspective. Horace will provide play along examples to help get these under your fingers.
39
A Minor Open Example #2
We continue to work on the 1-b3-4 open cluster examples. Horace provides another example to help hone your skills with this concept.
40
A Minor Open Example #3
In lesson 39, you continue to work on the 1-b3-4 open cluster examples. Horace provides another example to help hone your skills with this concept.
Combining Clusters
41
G Major and A Minor Cluster Pairs
In lesson 41, Horace wraps up his triad based series with a look at the G major and A minor cluster pairs. He demonstrates and discusses this concept like he did with the open and closed triad pairs.
The Takeaways
That is a lot of lessons... let's simplify the takeaways and goals of this course.
Ah-Ha Moments
Simplifying the Obscure
Connecting chords, scales, and arpeggios can be a major breakthrough for any musician. Building upon this foundation can unlock your creativity as an artist.
Power of 3
Constructing Your Chords
The goal of this course is to allow you to “see” the skeletal structure of chords and how to create new shapes and sounds.
Core Knowledge
Building Fundamentals
Unlocking triads across the neck will give you the key fundamentals for songwriting, composing, or even helping you play your favorite songs much quicker.
Personalize
Finding your Voice
Understanding major, minor and extended voicings allows you to craft a sound you have complete control over, vital for finding your voice with the instrument.
Own this course for life with full purchase, or become a member for streaming access.
In 2010, he enrolled at the University of North Texas, where he played with the One O’clock Lab Band as the first undergrad guitarist in 15 years to hold the guitar chair in that prestigious group, before graduating in 2015. “My time at UNT was good and I met a lot of great musicians and people there,” says Bray. “Being around people like professors Ed Soph and Stefan Karlsson was really inspiring.”
Bray has self-produced and released Dreamstate. His auspicious debut as a leader features ten original compositions performed by a crew of former fellow students at UNT. “I really wanted to have this album be an example of what I could do if left to my own devices. I wanted it to be a little bit more delicate, but it was also important to me that there was a dance-iness to the music.”
Bray currently lives in Brooklyn, NY where he spends his time playing music and teaching.
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41 Lessons
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