(guitar music)
- Hi everybody. My name's Jens Larsen.
Drop2 voicings are a big part
of the core vocabulary that we use when we're playing jazz.
In this video, I'm going to go over
how you can embellish the melodies
that you're playing with inner voice movement,
and sometimes even adding a completely different
layer of harmony.
If you want to learn more about jazz guitar,
about improvising over changes
and understanding chord progressions,
then subscribe to my channel.
If you want to make sure not to miss anything,
then click the little bell notification icon
next to the subscribe button.
The examples in this lesson are on a cadence in A minor,
so just to quickly cover that, on the top string set,
251 in A minor, it's going to be
(guitar chord playing)
B half diminished, (guitar chord playing)
E seven flat nine.
And then, (guitar chord playing)
A minor six.
A for all the positions,
it's going to be this.
These voicings are of course
the most basic versions of them,
and you can add quite a bit more color
by trying to add some extensions to them,
so if you take the
Bm7b5,
you can add the 11 instead of the thirds,
like it's this.
And on the e seven,
you can use the flat 13 instead of the fifth,
so that's the C instead of the B.
And you add a nine to the A minor six.
Then you have this.
If you want to check out more on adding extensions
and alterations to drop two voicings,
I have a link in the description
to a playlist with some of the other videos
I made on that topic.
Now let's get to the first example.
So in this example,
the main voicings that I'm using is
first this,
Bm7b5,
then E7(b9b13)
And then I'm resolving to this A minor six with a nine.
And then what's happened to this,
I have a main melody that, of course,
moves like
For each of the chords.
And then other that melody,
I have another melody moving within the chords,
so that's the inner voice.
First here going from D to E,
And then on the E seven it moves up to F.
And on the E seven,
I have this small melody inside.
That finally resolves to this E.
While the main melody,
which is of course a C,
over it,
is resolving to the B.
And then on the last chord,
I'm also adding
another movement where I change the
six up to a seven like this.
So, an A minor major with a nine.
In this example,
I've quite a few things happening
with the two voices,
so that gets a little bit tricky to explain maybe.
But the first voicing I'm using is just this
B minor seven flat 5,
and then on the E seven,
I'm using quite a few different things.
It's kind of all derived from this.
E7 flat 13 flat 9.
And then on the A minor,
I'm first resolving to this
A minor six with an added major seven.
And then that's finally going to move into this
A minor six with a nine.
So the first part is just
coming out of this
E minor seven flat five,
and I'm only just moving the top melody.
And then on the E seven
the melody goes up to the sharp nine here,
so the G.
And then I have this
E seven with a flat five under it.
Then I'm resolving the flat five.
And then I keep that melody moving up so,
that moves up to a C.
And the top melody moves down to an F,
so I get this.
And then I go up to the sharp nine again
with the top melody.
And then resolve it to E
with the A minor six with a major seven.
And then I move the major seven up to the nine.
In this example,
I'm starting with
this E minor seven flat five,
and then I'm actually going down to a voicing that's
this E7 with a Sharp 9 and a flat 13.
That's kind of derived from the one I used
in the first example as well so it's just this,
E7 flat 9 with flat 13.
And then I'm finally resolving to this
A minor six.
The first part is just moving the top melody again,
so on E minor seven flat five.
And then the top melody goes to C on the E seven.
And here I'm at a completely different layer
of the harmony under it because...
Instead of just playing the E seven,
I'm playing the E seven sharp nine here.
Then B seven
and then I'm moving it down to an
E seven flat nine.
So, I kind of added just this extra passing chord
in there.
And then I move up to this E seven flat nine.
And then resolve that to the A minor six like this.
And then in just a second I turn the A minor six
into an A minor major.
And I do that by moving F sharp
A and then down to G sharp.
These examples of course are a little bit dense,
and there are extra layers on all the chords,
and if you're new to this,
you probably want to introduce it one step
at a time.
Find a few solutions for one chord that you really like,
and try to incorporate that gradually in what you're playing
so maybe one other chord in a cadence.
Or in a song you already know.
That way you're more likely to get into
playing a little bit faster.
If this is the first time you see one of my videos,
and you want to check out more,
Jazz progressions,
improvising over chords,
an interesting scale choices and arpeggios,
then subscribe to my channel.
I'll probably shoot a lesson every Thursday,
and I've been doing this for quite some time,
so there's already a lot of material on my channel.
If you want to help me keep making these videos,
then check out my patreon page.
It's because of the small community of people
supporting me on patreon that I can
keep making all these videos,
so I'm very grateful for that.
And if there's a problem with patreon,
I can give you something in return for your support.
That's about it for this week.
Thank you for watching and until next week...
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