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This course was designed to teach you how to master the art of the drop-2 voicings. Horace reviews all the different ways to play these voicings all over the neck, for major, minor, dominant, and half-diminished chords. Then we’ll work on how to use these new shapes in a few common (and not so common) chord progressions and wrap it all up with some fun licks and etudes that use these concepts!
Complete course with step-by-step lessons and practice examples.
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Fresh, creative chord voicings can be the difference between a good musical idea and a great musical idea. They can inspire not only different chord progressions, but also melodic ideas that can turn into songs or solos. Join Horace Bray as he helps you get more mileage out of your chords, draw out new colors, and overcome that stale feeling that may be accompanying your chord progressions!
Horace Bray discusses his new series "The Power of Drop 2 Voicings." As an addition to his previous series on triads, this series is all about helping you add color and depth to your playing!
2:44 Runtime
0.0 Difficulty
In this lesson, Horace starts us out by explaining exactly what a drop 2 voicing is, and then proceeds to show us our first set of voicings: major shapes from the E string.
15:51 Runtime
2.5 Difficulty
Colors of the voices change slightly now, as we move to basing our major drop 2 shapes from the A string.
12:01 Runtime
Now Horace looks at the major drop 2 shapes on the high set of strings - from the D string. As in the first two lessons, we'll play the shapes up and down the neck.
12:00 Runtime
As you might guess, the drop two voicing can be applied to minor chords also. In this lesson, Horace looks at the low string set for our minor drop 2 shapes.
12:52 Runtime
Moving to the shapes based from the A string, or middle string set, we find more minor chords with character!
12:21 Runtime
The high set of drop 2 minor shapes based from the D string evoke a certain type of rhythm guitar, and a wealth of options in your own playing!
12:20 Runtime
Dominant chords carry a certain amount of tension with them, and depending on the voicing, that tension can vary a bit. Horace starts us out with these drop 2 shapes based from the E string
12:14 Runtime
3.0 Difficulty
Now on to the middle set of dominant drop 2 shapes, based from the A string.
12:02 Runtime
In this lesson, Horace takes a look at the high string set of dominant drop 2 shapes.
12:06 Runtime
Learning the best way to use diminished chords can be tricky, but no doubt it starts with learning the shapes inside and out, all up and down the neck. Horace starts us out on the shapes based from the E string.
12:33 Runtime
Drop 2 shapes are usually out of the ordinary as far as what we are used to playing. The best way of learning these diminished shapes is to take them to the 'woodshed' and get them flawlessly under our fingers. Here, Horace gives us the baseline for practicing these shapes from the A string.
12:23 Runtime
Now we move the high set of drop 2 diminished shapes, starting from the D string.
In this lesson, Horace shows us how to play the scale diatonically using the root position drop 2 shapes.
16:54 Runtime
Here, we incorporate the variety and versatility of the drop 2 shapes by playing the diatonic chord scales using first inversion drop 2 shapes.
17:20 Runtime
Using second inversion drop shapes, the diatonic chord scales becomes even more colored and diverse!
17:07 Runtime
Voice leading allows us to not only keep our voicings close, but to also economize our motion around the neck and fretboard. Horace shows us a tricky but useful exercise where we voice lead our way by ascending our motion while descending our harmony.
Now the opposite! We'll descend our motion across the neck, while ascending our harmony. Sort of a brain teaser, but will only help solidify our drop 2 voicings!
11:11 Runtime
The ii-V-I progression is a cornerstone of jazz, soul/R&B and many other genres. In this lesson, Horace shows us how to incorporate the drop 2 shapes we've learned so far into this classic progression, starting from shapes based from the E string.
19:57 Runtime
Now on to our ii-V-I drop 2 shapes based from the A string.
19:15 Runtime
In this lesson we'll look at the high set of strings and how to play our ii-V-I progression.
19:25 Runtime
What is a tri-tone substitution, why do I need it, and how do I use it? Answers to these and other burning questions can be found in this lesson!
21:58 Runtime
Yet another classic progression to practice our drop 2 shapes with. This lesson starts with the shapes based from the E string.
21:22 Runtime
Now Horace looks at the middle set of strings for this progression.
19:02 Runtime
Lastly, the progression is played on the high set of strings, offering even more colors to play with!
19:07 Runtime
Now it's time to apply some of the things we've learned in the series to real life situations. In this lesson, Horace shows us some cool Neo Soul drop 2 licks.
19:28 Runtime
3.5 Difficulty
Diminished drop 2 licks in Jazz can be the basis for great rhythm playing or even chord solos. Horace shows us some great usage for these in this lesson.
17:25 Runtime
Although not as common, drop 2 licks can be used in rock and blues. Here Horace shows us a couple of examples of this.
13:48 Runtime
Now for something a little more challenging. This short Etude can be used to expand your familiarity with drop 2 voicings, and see how they might be used in a song situation.
20:44 Runtime
Lastly, one more Etude to challenge our knowledge and execution of the drop 2 voicings.
28:06 Runtime
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Horace Bray is excellent at explaining things and getting his point across.