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Horace Bray

Horace Bray

Horace is a Guitar instructor at JamPlay.com

Born on December 24th , 1991 in Los Angeles, California, Horace Bray began playing drums at age 10 but later picked up guitar at age 14 when he was living in St. Louis, Missouri. His first guitar teacher was Corey Christiansen, who he studied with privately for a year. Bray cites Jimmy Page and Jeff Beck as his earliest guitar influences before discovering jazz through his lessons with Christiansen. “I was really into Grant Green and Wes Montgomery early on, then got deeply... (more)

Horace currently offers 71 guitar lessons at JamPlay, with 71 intermediate lessons.

Horace Bray's contribution to JamPlay

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Theory and Improvisation

The Power of Three Notes

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.

1

The Power of Three Notes Introduction

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.

1:48 Runtime

0.0 Difficulty

2

Closed G Major Triads for Bottom Strings

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.

5:03 Runtime

2.0 Difficulty

3

Closed 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.

3:29 Runtime

2.5 Difficulty

4

Closed 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.

4:00 Runtime

2.0 Difficulty

5

Closed G Major Triads for Top Strings

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.

4:16 Runtime

2.0 Difficulty

6

Closed Triad G Major Arpeggios

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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2.5 Difficulty

7

Open G Major Triads for Bottom Strings

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.

6:04 Runtime

2.0 Difficulty

8

Open G Major Triads for 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.

7:24 Runtime

2.5 Difficulty

9

Open G Major Triads for Top Strings

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.

4:41 Runtime

2.5 Difficulty

10

Major Arpeggio 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!

5:28 Runtime

3.0 Difficulty

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11

Closed A Minor Triads for Bottom Strings

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.

3:10 Runtime

2.5 Difficulty

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.

3:22 Runtime

2.5 Difficulty

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.

3:17 Runtime

2.5 Difficulty

14

Closed A Minor Triads for Top Strings

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.

2:52 Runtime

2.5 Difficulty

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.

7:02 Runtime

3.0 Difficulty

16

Open A Minor Triads for Bottom Strings

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.

4:26 Runtime

2.5 Difficulty

17

Open A Minor Triads for Middle Strings

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.

2:57 Runtime

2.5 Difficulty

18

Open A Minor Triads for Top Strings

Are you seeing the patterns? Moving to the 4th, 3rd, 2nd and 1st strings, we will again learn the root, 1st, and 2nd inversions.

3:07 Runtime

2.5 Difficulty

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.

5:28 Runtime

3.0 Difficulty

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.

8:08 Runtime

3.0 Difficulty

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.

6:08 Runtime

3.0 Difficulty

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.

1:53 Runtime

2.5 Difficulty

23

G Major Clusters for Bottom Strings

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.

6:17 Runtime

2.5 Difficulty

24

G Major Clusters for 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.

4:06 Runtime

2.5 Difficulty

25

G Major Clusters for 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.

4:07 Runtime

2.5 Difficulty

26

G Major Clusters for Top Strings

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.

4:14 Runtime

2.5 Difficulty

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.

7:41 Runtime

2.5 Difficulty

28

G Major Open Clusters for Bottom Strings

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.

5:45 Runtime

2.5 Difficulty

29

G Major Open Clusters for Middle Strings

Horace provides another example of how landing points function within triads.

4:32 Runtime

2.5 Difficulty

30

G Major Open Clusters for Top Strings

A final example demonstrating this concept. Refer to the provided tab to navigate the fretboard and perfect these concepts.

4:11 Runtime

2.5 Difficulty

31

Open Cluster Landing Points

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.

3:48 Runtime

2.5 Difficulty

32

A Minor 1-b3-4 Arpeggio

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.

6:30 Runtime

3.0 Difficulty

33

A Minor Clusters for Bottom Strings

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.

4:55 Runtime

2.5 Difficulty

34

A Minor Clusters for 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.

4:25 Runtime

2.5 Difficulty

35

A Minor Clusters for 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.

3:35 Runtime

2.5 Difficulty

36

A Minor Clusters for Top Strings

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.

4:22 Runtime

2.5 Difficulty

37

Open A Minor Altered Triads for Bottom Strings

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.

4:45 Runtime

2.5 Difficulty

38

Open A Minor Altered Triads for Middle Strings

We continue to work on the 1-b3-4 open cluster examples. Horace provides another example to help hone your skills with this concept.

4:27 Runtime

2.5 Difficulty

39

Open A Minor Altered Triads for Top Strings

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.

4:51 Runtime

2.5 Difficulty

40

Open A Minor Altered Triad Landing Points

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.

2:08 Runtime

3.0 Difficulty

41

Combining Elements and Final Thoughts

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.

9:19 Runtime

3.0 Difficulty

Theory and Improvisation

The Power of Drop 2 Voicings

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!

1

Series Introduction

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

2

Major Drop 2 Shapes Part 1 - From the E String

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

View this Lesson
3

Major Drop 2 Shapes Part 2 - From the A String

Colors of the voices change slightly now, as we move to basing our major drop 2 shapes from the A string.

12:01 Runtime

2.5 Difficulty

4

Major Drop 2 Shapes Part 3 - From the D String

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

2.5 Difficulty

5

Minor Drop 2 Shapes Part 1 - From the E String

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

2.5 Difficulty

6

Minor Drop 2 Shapes Part 2 - From the A String

Moving to the shapes based from the A string, or middle string set, we find more minor chords with character!

12:21 Runtime

2.5 Difficulty

7

Minor Drop 2 Shapes Part 3 - From the D String

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

2.5 Difficulty

8

Dominant Drop 2 Shapes Part 1 - From the E String

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

9

Dominant Drop 2 Shapes Part 2 - From the A String

Now on to the middle set of dominant drop 2 shapes, based from the A string.

12:02 Runtime

3.0 Difficulty

10

Dominant Drop 2 Shapes Part 3 - From the D String

In this lesson, Horace takes a look at the high string set of dominant drop 2 shapes.

12:06 Runtime

3.0 Difficulty

11

Half Diminished Drop 2 Shapes Part 1 - From the E String

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

3.0 Difficulty

12

Half Diminished Drop 2 Shapes Part 2 - From the A String

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

3.0 Difficulty

13

Half Diminished Drop 2 Shapes Part 3 - From the D String

Now we move the high set of drop 2 diminished shapes, starting from the D string.

12:02 Runtime

3.0 Difficulty

14

Diatonic Movement - Root Position

In this lesson, Horace shows us how to play the scale diatonically using the root position drop 2 shapes.

16:54 Runtime

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15

Diatonic Movement - First Inversion

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

3.0 Difficulty

16

Diatonic Movement - Second Inversion

Using second inversion drop shapes, the diatonic chord scales becomes even more colored and diverse!

17:07 Runtime

3.0 Difficulty

17

Ascending Motion, Descending Harmony

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.

12:23 Runtime

3.0 Difficulty

18

Descending Motion, Ascending 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

3.0 Difficulty

19

ii-V-I Progressions Part 1 - From the E String

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

3.0 Difficulty

20

ii-V-I Progressions Part 2 - From the A String

Now on to our ii-V-I drop 2 shapes based from the A string.

19:15 Runtime

3.0 Difficulty

21

ii-V-I Progressions Part 3 - From the D String

In this lesson we'll look at the high set of strings and how to play our ii-V-I progression.

19:25 Runtime

3.0 Difficulty

22

Tri-Tone Substitution Overview

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

3.0 Difficulty

23

Minor ii-bv-i Progressions Part 1 - From the E String

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

3.0 Difficulty

24

Minor ii-bv-i Progressions Part 2 - From the A String

Now Horace looks at the middle set of strings for this progression.

19:02 Runtime

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25

Minor ii-bv-i Progressions Part 3 - From the D String

Lastly, the progression is played on the high set of strings, offering even more colors to play with!

19:07 Runtime

3.0 Difficulty

26

Neo Soul Drop 2 Licks

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

27

Diminished Jazz Drop 2 Licks

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

3.5 Difficulty

28

Rock Blues Drop 2 Lick

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

3.0 Difficulty

29

Drop 2 Etude 1

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

3.5 Difficulty

30

Drop 2 Etude 2

Lastly, one more Etude to challenge our knowledge and execution of the drop 2 voicings.

28:06 Runtime

3.5 Difficulty

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