Modern R&B Grooves
The Power of the Drop-2 Voicing
Maximizing The 12 Notes
The Power of 3 Notes
Featuring complete, tactical courses from Tim Stewart, Horace Bray , Monte Pittman, and Horace Bray. Horace Bray strips chords to their core with a deep look at triads. In the power of 3 notes, he shows how to unlock new shapes and sounds using triads. Then, learn to augment those chords with his course on Drop-2 voicings. Monte Pittman adds context as he reveals his methods for getting around the fretboard effortlessly. And finally Tim Stewart provides musical tools to unlock the pocket, create interest and add life with chordal moves, single note lines, swells, double stops and much more.
This is a full, 27+ hour collection featuring 141 step-by-step lessons with full supplemental content.
Filmed with 6 cameras and stream in awesome 4k video quality and downloadable in 1080p.
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Know what to practice after each lesson with guided suggestions, tabs, jamtracks and more.
Know what to practice after each lesson with guided suggestions, tabs, jamtracks and more.
The Chords & Grooves Collection features 141 lessons and 27+ hours of video.
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Taught by Tim Stewart
Having shared the stage with Lady Gaga, Janet Jackson, and countless American Idol contestants, Tim Stewart brings seasoned pedigree to the JamPlay team. His course, "Modern Grooves & Retro Rhythms", serves to help you unlock the pocket with your rhythm guitar playing. Learn the tools to create interest and add life with chordal moves, single note lines, swells, double stops and much more.
Tim Stewart describes his course and who it is for.
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Triads, or three note chords, are a foundational part of music, and especially rhythm guitar. Let's explore some major triad shapes.
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With the major triad inversions in the bag, it's now time to add some minor triads to our toolkit.
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Things get really intense when we start using these major and minor triads together!
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Let's explore some techniques we can use to enhance a groove that uses major 7 and 9 chords.
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Now it's time to explore some minor 7 and 9 chord embellishments just like we did the major ones.
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Tim shows you some rhythm magic drawing from what we've learned about major and minor 7 embellishments.
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Tim shows you how to riff out in some dominant 7 and 9 shapes, and add that to your toolkit.
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Tri tones have a unique sound full of tension. Tim shows us how they can be useful for finding your groove inside of a dominant chord.
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Tim takes us in to a further exploration of the dominant 7 with more riffs and some great licks.
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Tim takes us through some ideas using the 6th interval.
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What kind of leverage can you get out of the 10th interval? In this lesson, Tim is going to help us explore just that.
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Using muted notes is another great tool that can add another layer of texture. Let's explore the possibilities.
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Playing two notes at once is sometimes just enough to spice up a guitar part. Let's look at double stops in the 3rd and 4th intervals.
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Tim shows us some licks playing the pentatonic scale in two note harmony.
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Tim brings some of what we've learned about 4ths and 3rds and doublestops in to a new groove to further develop these skills.
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Playing chords is about more than strumming. Check out how we can create movement inside of the chords for more rhythmic flavor.
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Incorporate much of what we’ve covered into a Motown 6/8 groove.
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Funk techniques from that city up North.
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In this lesson you'll learn how to integrate rock & funk style riffs into your playing.
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We're going to explore some of Tim's favorite chord voicings.
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Tim shows you how to move chords around a common note using a progression that places the common note on top.
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Tim brings us along as he develops a rhythm for this California style groove.
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Next we add some embellishments to our California groove.
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Tim shows us some rhythmic ideas inspired by the King of Pop.
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Tim shows us some embellishments for the rhythm part we just learned.
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Tim gives us some rhythmic ideas for an old school style of backing track.
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Now we are going to add embellishments to that last track.
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Tim has one more groove to check out. Let's develop a rhythm part for this track now.
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Let's spice this last track up now with some embellishments.
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Meet Tim Stewart
Tim Stewart is a lifelong guitarist, writer and producer. Currently, he is splitting time between Lady Gaga, Rihanna, and his own project for a band called "Knives". Tim has been playing, touring and performing for over 20 years, and recently performed at the half time show for the NFL Super Bowl in 2018.
His performing and writing credits include Lady Gaga, Rihanna, J-Lo, Mariah Carey, Miley Cyrus, Britney Spears, Destiny's Child, Jessica Simpson, Frank Ocean, Rodney Jerkins, Tricky Stewart, Miguel, Rita Ora, American Idol, Backstreet Boys, Infectious Grooves, and Tiziano Ferro. All told, Tim is a go-to mainstay in the R&B industry for his consistent approach, stage command, and knowledge of song composition, rhythm and adding to the mix.
Tim joins the JamPlay team of instructors to provide a unique look into the role of the guitar in a pop and R&B context. A "forever learner", Tim strives to give a focused course applying the rules and principles that have unlocked a unique career of performing and writing.
Taught by Horace Bray
Want to get more mileage out of the chords you already know while using some fresh sounds? This course will teach you how to master the art of the drop-2 voicing: We will review all the different ways to play a drop-2 voicing all over the neck (major, minor, dominant, half-diminished)-- then we work to use 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.
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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.
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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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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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Meet Horace Bray
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 guitarist Rick Hayden. “I chose to leave Missouri for college because I needed a change in my life and a kick in the ass to push me to get better,” Bray says.
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.”
Taught by Monte Pittman
As Madonna's long time guitarist, Monte Pittman knows a thing or two about the instrument. Monte takes us on an exploration of scales, chords and exotic tonalites, designed to give us insight into how the entire fretboard is tied together. Discover practical ways to access every note and chord available to you, along with the ability to hear what you are learning in context over backing tracks.
Twelve notes, plus your fretboard equals a massive amount of combinations! Join Monte Pittman in this series introduction as he tells us what to expect in his course.
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We start with the diatonic scale. Monte shows the scale in all it's positions, getting you familiar with it's shapes on the fretboard.
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Each of the notes in the diatonic scale has a chord associated with it. In this lesson, Monte shows us those related chords, and explores other notes in the scale that can accompany them, giving us unique tonalites.
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There's no rule book that says once we are in a scale position that we have to stay there! Monte explores combining different diatonic shapes in this lesson.
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Now we take the diatonic scale subtract two of its notes. What do we get? The pentatonic scale. Join Monte as he shows all of the positions of this common, often used scale.
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One of the most useful and cool ways to play our pentatonics is diagonally across the fretboard. Monte shows us how to use this technique, moving across all the positions.
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The blues scale is very similar to the minor pentatonic scale, so much so they can be interchangeable. But there is a very specific and unique tonality that it has that makes it a "must learn" scale for any guitar player!
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The diminished scale will add a unique tonality to any player's sound. In this lesson, Monte shows us this scale and it's related chords.
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Think of enclosures as surrounding your target note with its upper and lower neighbor. Monte gives us some useful exercises to get us familiar with this technique.
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In this lesson, Monte uses all of the techniques we've gone over so far, putting them in the context of a track.
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So many of the scales we're learning a simply changing one or two notes in our original diatonic scale. Harmonic minor is like that. Even that simple change can result in a completely different mood and tonality. In this lesson Monte shows us the various positions of harmonic minor.
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Now it's time to learn the various chords that accompany harmonic minor.
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The hungarian minor scale can be viewed as a modification of the harmonic minor scale. It has a very exotic sound, and is sometimes referred to as the "snake charmer" scale. Join Monte as he reviews the various positions of this unique scale.
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The chords associated with hungarian minor open tonalities that can be a challenge to the ear, but at the same time can create a unique world of sounds and moods. Monte walks us through the various possibilites.
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Now it's time to do your own exploring of the various tonalites we've discovered so far. Monte gives us a track to play over with the goal of incorporating many of the techniques we've learned so far in the course.
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In this lesson, Monte shows us the melodic minor scale and it's positions. This is one more tool in your tonal toolbox!
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The chords for melodic minor are different and unique to say the least. Hopefully this lesson will open your ears to the possibilities of this jazz-like tonality!
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The whole tone scale is a scale that works well over augmented chords. In this lesson, Monte shows us how to associate this scale with the augmented chord.
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As certain patterns emerge in certain scale shapes, they often lead us to other types of scales and tonalites. Such is the case with this scale, whose pattern we've seen emerge in some of the recent scales we've covered - the half whole diminished scale.
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Intervals are the distance from one tone to another. Being able to recognize them by ear can take you a long way in your guitar playing. Here, Monte explores different types of intervals and how the patterns are the same in various keys.
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Triads are the three notes that make up our chords. In this lesson, Monte shows us various places these can be found around the neck.
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In this lesson, Monte talks about the different types of harmony: static, parallel and counter point.
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Chord substitutions are a great thing to know if you want to take your basic progressions and add a different flavor to them. Here, Monte shows us some common progressions and how to use substitutions in an effective way.
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Monte takes the basic progression of I-IV-V and shows us some different ways to approach it, resulting in some cool explorations of tonality.
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Now Monte approaches the ii-V-I progression, and looks at the chord substitutions that will work with these chords.
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Monte now takes some of the progressions we've been working on and dives into creating our own song!
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Let's take a look at the classic I-vi-IV-V chord progression, but in the context of using only certain notes in the chords from certain scales. The results are eye opening!
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Monte talks about the versatility of the diminished chord and scale, and being able to repeat it every three frets on the neck.
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Now it's time for the augmented chord and scale. Knowing where and how to move this around gives us a great tool to use!
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In this lesson Monte combines the concept of moving diminished and augmented chords with the concept of chord substitutions.
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Now we're at the point where we've learned to play a chord with all twelve notes. Whether it's movable shapes or chord substitutions, Monte has shown us a comprehensive way to use the twelve notes. Here he puts all the techniques together!
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When you think about it, there are so many combinations of notes that give us a wealth of chords. In this lesson, Monte shows us how to come up with some creative chords; hopefully some you've never imagined that will open up some unique tonal possibilities!
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Monte takes a look at using common chords when switching keys.
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Practicing the scales and chords in a specific way can help you overcome certain hurdles you may face when trying to learn patterns and shapes. Sometimes the best way to go is to create your own exercises! Monte talks about this specific concept in this lesson.
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In this lesson, Monte uses his song, "Changing of the Guard" to show us a cool two handed tapping riff.
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Two hand, four finger tapping sounds very difficult, but Monte uses his song, "Before the Mourning Son" to break down the technique.
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In this lesson, Monte shows us a creative use of Harmonics from his song "Obliterated".
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In this lesson, Monte discusses and demonstrates various tips and tricks to help get your picking hand under control.
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Now to see diminished and augmented chord shapes in action. Monte uses his beautifully haunting song, "Beguiling" to show us how to implement these chords in a real song setting.
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In the final lesson, Monte shows us how to achieve the haunting, ethereal sound in his song "Beguiling".
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Meet Monte Pittman
Monte Pittman has enjoyed an ongoing and fruitful collaboration with multi-platinum selling artist Madonna, having recorded and toured with her extensively over a period of more than fifteen years. Then there’s his first band, Myra Mains, his stint in the metallic behemoth that is Prong, and collaborations with a broad spectrum of international artists.
In 2014, Pittman released his Flemming Rasmussen-produced "The Power Of Three", his first release with Metal Blade Records, blending killer riffs, blistering leads and gigantic hooks to an album that was equal parts anthemic grandeur and in-your-face attitude, making metalheads around the world take note.
Pittman has won various industry awards, including Best Solo Artist Award at the Artists in Music Awards, along with a Career Achievement Award for Rock Guitarists at the 22nd Annual LA Music Awards. We are excited to now release his material to the faithful JamPlay masses and interested guitar players across the globe with his exclusive course.
Taught by Horace Bray
Unlock your chords and break out of shape based knowledge with "The Power of 3". 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.
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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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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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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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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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.
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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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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 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.
3:48 Runtime
2.5 Difficulty
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
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
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
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
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
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
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
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
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
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
Meet Horace Bray
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 guitarist Rick Hayden. “I chose to leave Missouri for college because I needed a change in my life and a kick in the ass to push me to get better,” Bray says.
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.”
Ignited we Stand.
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