Modern R&B Grooves
The Power of the Drop-2 Voicing
Maximizing The 12 Notes
The Power of 3 Notes
The Chords & Grooves Collection
Unleash the inner rhythm player and move the listener with primal emotion.
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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Modern R&B Grooves
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.
30 Lessons
4k and 1080p
Interactive Tabs
JamTracks
Practice Help
Series Introduction
Tim Stewart describes his course and who it is for.
2:56 Runtime
0.0 Difficulty
Major Triad Inversions
Triads, or three note chords, are a foundational part of music, and especially rhythm guitar. Let's explore some major triad shapes.
9:56 Runtime
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Minor Triad Inversions
With the major triad inversions in the bag, it's now time to add some minor triads to our toolkit.
7:42 Runtime
2.5 Difficulty
Combining the Major and Minor Triads
Things get really intense when we start using these major and minor triads together!
8:06 Runtime
2.5 Difficulty
Embellishing the Major 7 and 9
Let's explore some techniques we can use to enhance a groove that uses major 7 and 9 chords.
9:43 Runtime
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Embellishing the Minor 7 and 9
Now it's time to explore some minor 7 and 9 chord embellishments just like we did the major ones.
10:17 Runtime
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Combining the Major 7 and Minor 7
Tim shows you some rhythm magic drawing from what we've learned about major and minor 7 embellishments.
10:17 Runtime
2.5 Difficulty
Dominant 7 and 9
Tim shows you how to riff out in some dominant 7 and 9 shapes, and add that to your toolkit.
11:45 Runtime
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Tri Tones in a Dominant Chord
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.
10:28 Runtime
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Licks and Riffs Over the Dominant 7
Tim takes us in to a further exploration of the dominant 7 with more riffs and some great licks.
11:44 Runtime
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The 6th Interval
Tim takes us through some ideas using the 6th interval.
15:45 Runtime
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The 10th Interval
What kind of leverage can you get out of the 10th interval? In this lesson, Tim is going to help us explore just that.
12:44 Runtime
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Muted Single Notes
Using muted notes is another great tool that can add another layer of texture. Let's explore the possibilities.
12:33 Runtime
2.5 Difficulty
Double Stop 3rds and 4ths
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.
13:06 Runtime
2.5 Difficulty
2 Note Pentatonic
Tim shows us some licks playing the pentatonic scale in two note harmony.
10:46 Runtime
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Combining 4ths and 3rds
Tim brings some of what we've learned about 4ths and 3rds and doublestops in to a new groove to further develop these skills.
12:53 Runtime
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Chord Movements
Playing chords is about more than strumming. Check out how we can create movement inside of the chords for more rhythmic flavor.
11:53 Runtime
2.5 Difficulty
6/8
Incorporate much of what we’ve covered into a Motown 6/8 groove.
25:04 Runtime
2.0 Difficulty
Minneapolis
Funk techniques from that city up North.
23:35 Runtime
2.5 Difficulty
Riff Based Rock/Funk
In this lesson you'll learn how to integrate rock & funk style riffs into your playing.
13:13 Runtime
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Voicings
We're going to explore some of Tim's favorite chord voicings.
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Highlighting the Common Note
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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Cali Groove - Rhythm
Tim brings us along as he develops a rhythm for this California style groove.
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Cali Groove - Embellishments
Next we add some embellishments to our California groove.
13:17 Runtime
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MJ Groove - Rhythm
Tim shows us some rhythmic ideas inspired by the King of Pop.
14:50 Runtime
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MJ Groove - Embellishments
Tim shows us some embellishments for the rhythm part we just learned.
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Old School Groove - Rhythm
Tim gives us some rhythmic ideas for an old school style of backing track.
9:07 Runtime
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Old School Groove - Embellishments
Now we are going to add embellishments to that last track.
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Isley Groove - Rhythm
Tim has one more groove to check out. Let's develop a rhythm part for this track now.
9:27 Runtime
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Isley Groove - Embellishments
Let's spice this last track up now with some embellishments.
11:26 Runtime
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30 Lessons spanning 6+ Hours
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.
The Power of the Drop-2 Voicing
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!
30 Lessons
4k and 1080p
Interactive Tabs
Practice Help
JamTracks
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
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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.
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2.5 Difficulty
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.
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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.
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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
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!
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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!
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2.5 Difficulty
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
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
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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.
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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
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.
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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.
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Diatonic Movement - Root Position
In this lesson, Horace shows us how to play the scale diatonically using the root position drop 2 shapes.
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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.
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Diatonic Movement - Second Inversion
Using second inversion drop shapes, the diatonic chord scales becomes even more colored and diverse!
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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
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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
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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
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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
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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
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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
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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.
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Minor ii-bv-i Progressions Part 2 - From the A String
Now Horace looks at the middle set of strings for this progression.
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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
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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
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
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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
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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
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
30 Lessons spanning 7+ Hours
Meet Horace Bray
Horace Bray began playing guitar at age 14 and cites Jimmy Page, Jeff Beck, Grant Green and Wes Montgomery as his guitar influences. In 2015, he graduated from the University of North Texas as the first undergrad guitarist in 15 years to hold the guitar chair in collegiate band.
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. Bray currently lives in Brooklyn, NY where he spends his time playing music and teaching.
Maximizing The 12 Notes
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.
40 Lessons
4k and 1080p
Interactive Tabs
JamTracks
Guitar Pro
Series Introduction
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.
2:01 Runtime
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Diatonic Scale
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.
19:57 Runtime
2.5 Difficulty
Diatonic Chords
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.
17:41 Runtime
2.5 Difficulty
Combining Diatonic Shapes
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.
24:21 Runtime
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Pentatonic Scale
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.
21:18 Runtime
2.5 Difficulty
Diagonal Pentatonic Scales
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.
14:21 Runtime
2.5 Difficulty
The Blues Scale
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!
14:28 Runtime
2.5 Difficulty
Diminished Chords and Scales
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.
8:44 Runtime
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Enclosures
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.
9:25 Runtime
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The Grand Scheme So Far
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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Harmonic Minor Scale
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.
16:16 Runtime
2.5 Difficulty
Harmonic Minor Chords
Now it's time to learn the various chords that accompany harmonic minor.
14:34 Runtime
2.5 Difficulty
Hungarian Minor Scale
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.
11:01 Runtime
2.5 Difficulty
Hungarian Minor Chords
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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2.5 Difficulty
Uncharted Territory
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.
14:26 Runtime
2.5 Difficulty
Melodic Minor Scale
In this lesson, Monte shows us the melodic minor scale and it's positions. This is one more tool in your tonal toolbox!
23:10 Runtime
2.5 Difficulty
Melodic Minor Chords
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!
12:51 Runtime
2.5 Difficulty
The Whole Tone Scale
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.
17:36 Runtime
2.5 Difficulty
The Half Whole Diminished Scale
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.
22:52 Runtime
2.5 Difficulty
Intervals
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.
27:33 Runtime
3.0 Difficulty
Triads
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.
17:58 Runtime
3.0 Difficulty
Harmony
In this lesson, Monte talks about the different types of harmony: static, parallel and counter point.
25:37 Runtime
3.0 Difficulty
Chord Substitutions
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.
16:06 Runtime
3.0 Difficulty
I-IV-V Progression
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.
22:35 Runtime
2.5 Difficulty
ii-V-I Progression
Now Monte approaches the ii-V-I progression, and looks at the chord substitutions that will work with these chords.
25:29 Runtime
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Song Creation
Monte now takes some of the progressions we've been working on and dives into creating our own song!
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I-vi-IV-V Progression
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!
28:20 Runtime
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The Power of Three - Diminished
Monte talks about the versatility of the diminished chord and scale, and being able to repeat it every three frets on the neck.
15:56 Runtime
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The Power of Three - Augmented
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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The Power of Three - Dominant
In this lesson Monte combines the concept of moving diminished and augmented chords with the concept of chord substitutions.
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Guiding Our Way Through all 12 Notes
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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Finding Chords
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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Using the Same Chords to Switch Keys
Monte takes a look at using common chords when switching keys.
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Creating Your Own Exercises
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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Two Hand Tapping
In this lesson, Monte uses his song, "Changing of the Guard" to show us a cool two handed tapping riff.
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3.5 Difficulty
Two Hand Four Finger Tapping
Two hand, four finger tapping sounds very difficult, but Monte uses his song, "Before the Mourning Son" to break down the technique.
14:02 Runtime
3.5 Difficulty
Harmonics
In this lesson, Monte shows us a creative use of Harmonics from his song "Obliterated".
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2.5 Difficulty
Picking Hand Tips
In this lesson, Monte discusses and demonstrates various tips and tricks to help get your picking hand under control.
10:29 Runtime
2.5 Difficulty
Diminished and Augmented Chord Shapes
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.
11:03 Runtime
3.5 Difficulty
Ethereal Chord Sounds
In the final lesson, Monte shows us how to achieve the haunting, ethereal sound in his song "Beguiling".
16:24 Runtime
3.0 Difficulty
40 Lessons spanning 11+ Hours
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.
The Power of 3 Notes
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.
41 Lessons
4k and 1080p
Interactive Tabs
Practice Help
Guitar Pro
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
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.
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2.0 Difficulty
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
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
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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.
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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.
9:07 Runtime
2.5 Difficulty
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
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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
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
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
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
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
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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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
G Major Open Clusters for Middle Strings
Horace provides another example of how landing points function within triads.
4:32 Runtime
2.5 Difficulty
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
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
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
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
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
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
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
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
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
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
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
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
41 Lessons spanning 3+ Hours
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.”
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