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Horace Bray was born on December 24th, 1991 and began playing guitar at age 14 when living in St. Louis, Missouri. Bray cites Jimmy Page and Jeff Beck as his earliest guitar influences before discovering jazz through his studies. I was really into Grant Green and Wes Montgomery early on, then got deeply into Kurt Rosenwinkel in high school, he recalls. Bray was involved in an after-school jazz program run by Jazz St. Louis and was a part of their top group taught by guitar... (more) Horace currently offers 71 guitar lessons at JamPlay, with 71 intermediate lessons.
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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.
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0.0 Difficulty
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.
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2.0 Difficulty
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.
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2.5 Difficulty
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.
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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.
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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, emphasizing the importance of “using your ear” and how to not get boxed in.
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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.
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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.
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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.
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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!
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3.0 Difficulty
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.
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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.
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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.
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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.
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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.
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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.
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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.
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Are you seeing the patterns? Moving to the 4th, 3rd, 2nd and 1st strings, we will again learn the root, 1st, and 2nd inversions.
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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.
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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Horace provides another example of how landing points function within triads.
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A final example demonstrating this concept. Refer to the provided tab to navigate the fretboard and perfect these concepts.
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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.
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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.
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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.
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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.
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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.
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In lesson 37, 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.
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We continue to work on the 1-b3-4 open cluster examples. Horace provides another example to help hone your skills with this concept.
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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.
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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.
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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.
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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!
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!
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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.
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Colors of the voices change slightly now, as we move to basing our major drop 2 shapes from the A string.
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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.
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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.
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Moving to the shapes based from the A string, or middle string set, we find more minor chords with character!
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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!
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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
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Now on to the middle set of dominant drop 2 shapes, based from the A string.
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In this lesson, Horace takes a look at the high string set of dominant drop 2 shapes.
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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.
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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.
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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.
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Here, we incorporate the variety and versatility of the drop 2 shapes by playing the diatonic chord scales using first inversion drop 2 shapes.
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Using second inversion drop shapes, the diatonic chord scales becomes even more colored and diverse!
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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!
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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.
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Now on to our ii-V-I drop 2 shapes based from the A string.
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In this lesson we'll look at the high set of strings and how to play our ii-V-I progression.
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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!
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Yet another classic progression to practice our drop 2 shapes with. This lesson starts with the shapes based from the E string.
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Now Horace looks at the middle set of strings for this progression.
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Lastly, the progression is played on the high set of strings, offering even more colors to play with!
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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.
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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.
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Although not as common, drop 2 licks can be used in rock and blues. Here Horace shows us a couple of examples of this.
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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.
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Lastly, one more Etude to challenge our knowledge and execution of the drop 2 voicings.
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