Music Theory - Drop Voicings
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- čas přidán 28. 11. 2016
- In this Episode of Everything Music we explore Drop Voicings. What are they, how do you build them and how to use them.
C Major 7
4 Way Close C (4) E (3) G (2) B (1) Low --- High
Drop 2 G (2) C (4) E (3) B (1)
Drop 3 E (3) C (4) G (2) B (1)
Drop 2&3 E (3) G (2) C (4) B (1)
Drop 2&4 C (4) G (2) E (3) B (1)
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3:00 "and it sounds like this"
lol
Yep, definitely heard that too
Fuh Shurrrre! LoL! I did not hear any sound! LoL!
This is so pretty. It really makes Cmaj7 come alive!
Fantastic lesson. I've been studying and playing jazz for 26 years and I have has many teachers along the way. You are the first who has explained this to me in a very simple and clear way without any feeling of "mystery" behind it. Straight and to the point with no fluff. Thanks so much. I am a new subscriber for sure.
I'm studying jazz theory at University and Rick Beato you have saved my life. Getting so much value out of your videos! Thankyou
what? arent u supposed to learn this in ur school?
Funny how handy CZcams videos have become an essential tool to get people through college courses. Just because someone is a college professor, doesn’t make them a good teacher
Hi Rick, I really enjoy your videos. A lot of what I learned at Berklee kind of went over my head and checking out your videos clarifies a lot of the things I learned but didn't completely digest ! Thank you so much and much love to you and the family
Professor Beato each of your videos is so eye opening and simple in your presentations but yet are so rich in content and information that I can't believe someone with your level of education and expertise with a no nonsense approach is even sharing this on the Internet with us...Thank you and May God bless you & your loved ones this New Year for all your hard work..
I was late for theory class when the teacher explained this, when I came in he was erasing the board, I thought "Rick will have a video on this"... THANK YOU!
i was really hoping you'd show the drop voicings on guitar as well. that mapping from piano keyboard to guitar fretboard is very valuable to me.
One of the best teacher. He explained the drop voicing to me. Thanks Rick Beato
Great lesson. I can just say that you have the best lessons that are not just only theroy lessons so every lesson can instantly start to practicaly be used in composing,playing ect.
Excellent explanation of drop voicings and demonstrations of them on the piano. Thanks Rick!
Fantastic lesson! You really made it so clear. thank you... just what I was looking for.
Mr Beato, You are the main man. I cannot tell you enough how much I’ve enjoyed your very informative and entertaining videos. Please keep up the good work my friend. Many moons ago (1997) when I was studying at the Academy of Contemporary Music in Zurich 🇨🇭 my Guitar tutor Stephen Magnusson (Melbourne 🇦🇺) advised me on buying the book The Advancing Guitarist from Mick Goodrick. What took me days and weeks to study, learn and utilize back then, can now been explained in a 20 minute video from people like you. I have been now a professional Guitar tutor since 20 years but I continue to learn and be inspired from the likes of yourself.
Everything you publish is freaking amazing.
I love this program.
Thank you so much!!
Your children are marvelous too!!!
I love that you mentioned dropping inversions! That’s so cool
Thanks for this lesson. I can't find anyone else on CZcams who can concisely explain the concept.
Thanks so much Rick. This is very valuable to me I understood clearly and this will be very helpful when I can master it in all keys.
Thank you Rick, for your fine and allways friendly explained lessons
great vid explaining these terms...lots of vids make this more confusing (or seem just plain wrong in their definition). Jens Larson has some great vids working with actual guitar chord shapes on the first 4 strings (for drop 2 voicings). Thanks Rick!!
please keep on doing those videos ! I love them
Good job. Very clear and easy to understand.
The best lesson ever! Thank you so much.
I play by ear your lessons have helped me tremendously thanks 🙏
Rick this is the clearest video on drop voicings I've seen. A picture is worth a thousand words. The best. I have to do some honey dos and I woodwork. I have a lot of projects. Also I'm using Duo to limprove my Spanish. So yeah with repairing the cars etc. I still plan to watch this again today.
@PIANOSTYLE100... Thanks for the fascinating insight into your daily / weekly routine. When do you plan to publish your autobiography ?
More interested in his day than your seemingly frustrated one.
best explanation. Thank you so much!
Fantastic!!!so easy to understand!!!!!!
Eye opening as always!
This was super helpful, thank you!
Jens larsen and your channel is amazing for learning jazz harmony
Thanks for this Rick. Even though i use these,i now understand what they are. Classical guitar players are not taught, these as drop voicings.
I was new to this concept
And this video really helped me.
This is really useful, thank you very much 👍
Thank you for explaining that !
Fantastic Rick, thanks 👍
Hi Rick! I'm a drummer, music producer and engineer here in Caracas, Venezuela. First, I want to express how much I enjoy your videos, I think they are great and you explain all your subjects very well. I hadn't seen this particular one and I think it is great too but I have to point, even though it may be a little out of time, that the example on a melody using drop 2 & 4 was played incorrectly because you kept the 4th voice in your right thumb and forgot to play the 3rd voice. Anyways, mi intention is only to make a constructive remark so your videos are even better. Have a great time!!
Cool! Thank You!
Thanks a lot Rick !!
thank you very much!! very pragmatic approach
White keys make life so easy!..Great video Rick! I'll have to share this with my students.
Truly awesome!
You mentioned my 2 fave pianists. And of course lots of other pianists. ( i My pianos name is OSCAR!! My late DAD💔 & l always listened to jazz & classical. I’ve been listening to them since l was an embryo! I miss my DAD💔 something shocking. It’s not the same without him. But, l’ll never stop playing the music we loved. At least he got to see me at a smaller venue at the Opera House in Sydney. ‘Stella by Starlight’. Out of the THOUSANDS ( no joke) of records he left to me. My Grandpa told me he’d save up & buy records as a little boy, no toys, And l have his 78s & a truly AMAZING sound system. See ya soon PA. 💔✨👊🏾❤️❤️❤️❤️❤️
Super! Best teacher ever! Greetings from Germany :)
Thank you, Rick.
Great lesson!!
Thank you Rick
Hey Rick, this is by far the best and clearest explanation of drop voicings I've every seen- and I've really looked around for quite a while. Thanks a lot.
This is definitely the clearest video I've seen regarding drop voicings. I was getting confused about drop-2 inversions and seeing these chord charts showing examples of drop-2s and thinking, "How is that an inversion of the drop-2 voicing from before?" Realizing now, if I'm not mistaken, that you drop from the closed voicing and the closed voicing's inversions to get inversions of the drop chords.
So, drop-2 of root position:
1 3 5 7 would be
5 1 3 7.
Drop-2 of the 1st inversion:
3 5 7 1 would be
7 3 5 1
Drop-2 of 2nd inversion:
5 7 1 3 would be
1 5 7 3
And drop-2 of 3rd inversion:
7 1 3 5 would be
3 7 1 5.
I thought previously drop-2 inversion would simply be inversions of the original drop-2 from root position.
So, 1 3 5 7 drop-2 would be
5 1 3 7. And the inversion of that would be 1 3 7 5, 3 7 5 1, & 7 5 1 3.
Now, if I missed something or am way off on my "epiphany", someone please correct me. Lol
solid video freshing up on some uni stuff :)
I finally get it😂thank you so much for this video
Thank you!!!
Thank you teacher , you're the best , wondering about teacher like u
Wonderful sounds from a simple concept!
Well said dos gos!
loved it.
this is such a good video
Thank you!
Love it.
Thanks again. Application!
2:55
My god that is simply beautiful sound.
I've been enjoying your film composer analysis series. I understand that your discussion is extemporaneous. May I suggest that you try some other string patches for your demonstrations? The long tails sometimes blur the harmonic movement. It would also help to be able to capture the feeling of staccato and marcato (not to mention pizzicato and tremolo) passage work so often heard in the music of composers like Herrmann and Stravinsky. Occasionally, you fall into saying phrases like "and then that comes in" without clarifying what "that" is. This lesson does clarify the use of spread clusters, min(maj)7th chords, and augmented. I also heard quite a few ostinato figures that were important in the compositional construction. This is the first time I've seen such a forum in CZcams, and it is appreciated that you take the time and effort to put these together.
Hi Steve, I believe you are commenting on the wrong video because this is about drop voicings. Haha! I understand that you are probably talking about the Herrmann video? The only way to show how these piece work together is to demonstrate the separate parts. To program them would take much longer and I actually work as a music producer for a living. I really appreciate that you realize that my discussion is extemporaneous. I just play what I hear. That is also the idea that i am trying to get over to the viewer. Listen and play.
I am trying to figure out what some good libraries to buy are and I also don't have the best setup since my control room is used everyday to produce bands and solo artists. I hope to grow my channel in the next few months so that I can devote more time to my videos. I need to put an updated computer rig in my control room dedicated to my videos so that I can access the latest sounds and libraries. Thanks for your thoughtful comment.
thank you rick
awesome!
Hi Rick very clear explanation, thank you, but in 6´27" you did it wrong, you maintained the original 4 voice playing insted the 3 voice when you did the drop 2+4, if I can figure it is just because your explanation about how it works has been amazing great. Thanks a lot
Gracias !!!!
Nice lesson
Damn, this video is so good.
Very good
third channel i've watched a video on drop voicings from; third explanation i've gotten. each 'instructor' has a completely different definition of what a 'drop 2' chord is. GDI
Amazing video - please if you answer this , I wuold be very happy ; p - The drop chords are always based on 4 way close? Or could I just use any other form of building the chords and take the second voice to bottom and I could call it drop 2? Thank you!
thank you
Thank you rick this is the best explanation for drop voicings. Is there a way to use drop voicings in different styles of music?
Thanks RicK! Now I understand all... but I know little english language... ;)
Cool stuff and great explanation!
You skipped the Drop 4 voicings though
Excuse me, when you played the drop 2 & 4 voicing at 6:27, you omitted the 3rd voice (which is E) and doubled the 4th voice (which is the root-C) in your right hand. Was it just oversight or deliberate?
yep, I copped that too. devil is in the details :)
Thanks
Talk about Exotic Scales and how to compose with then
Thanks for uploading useful videos :D !!
Could you make Composing film scores tutorials in the style of Bernard Herrmann and Jerry Goldsmith ??
Greetings from Colombia !!
If Rick is doing another composer I'd vote for Bernard Herrmann or Stravinsky I must know what they're doing
I will do videos of all those composers
I would like to ask that what do these voicings do in music making? Because in the beginning i thought i was just inversions of the major 7th chord, but according the harmony theory, G can only be the base when it is an arpeggio 64, which the drop 2 voicing is and it sounds a little bit like dominant chord which is a bit ambiguous for the chord quality. Then I saw you use it as a parallel movement so I am wondering how these voicings should be used. I wonder if it is just the spacing of the chord where there would be a bass instrument for the root note.
writing a new song gonna try this on the bridge...thanks
hi rick is there a way i can contribute financially for your efforts ? is there a website ?
become part of his beato club, donate live or check out his paypal.
it's funny because in my composition I've done this just to give variety, but now I know it's called something! lol
Thanks for the instruction! What is the difference between drop voicing and inversions? Regards.
Not all inversions are drop voicings. You can have an inversion as long as the note in the bass is not the root of the chord. However, drop voicings are specifically open voiced chords, with the octave displacement of the notes you choose. Inversions can be open or closed
Rick at 2:01: "...so from the top, you drop it down an octave"
My brain: *from the top, make it dr-*
Do the original chords have to start in the root non-inverted form to use the same drop voicing terminology?
Nope, Rick explains at 7:20 that you can voice each inversion of the chord as a drop voicing.
Hi could anyone help me with this two questions.
What's the difference between Cmaj7/G and a Cmaj7 drop 2? And one more, I never seen it said "drop 2" on the score. Do I have to figure it out my self or is it a symbol for it that I've missed?
(I am a guitarplayer. I know the difference on the piano)
This may sound like a dumb question but if you change the voicing does it change the bass note. Or is the new lowest note the bass note.
How would one apply this theory to further chord extensions? In the case of a maj13(#11), for example, would I just count the 13th as "1" and count down?
I’d like some clarification on this too
Drop 2+3 is the best sounding on a CMaj7
I am only a beginner trying to orchestrate for church music, would you use these voicing for "Calls to Worship" or Anthems?
Hey Rick, little unrelated, but when i play 2nd inversion triads on the guitar, especially if there is a high gain or distorted sound, sometimes i can almost hear the root note an octave below the one I'm playing. Why is this? Does it have something to do with overtones "adding up" to make this root note that I'm not even playing?
Could be because of Tartini tones. An interval of a 5th can create the illusion of an note being played an octave down from the 1st. Sounds crazy, I know, but check it out. Some sax players sing a 5th tp the note they're playing to get this effect. That wouldn't work on 2nd invertion ie GCE, but it might on broken chords i.e. CGE.
great video! it always bothered me that the top note is the #1, the root is usually 1 🙄
6:24 the diatonic drop 2 & 4 I think you dropped the E from the right hand instead of the C?
I could be wrong - I'm a (bad) guitarist :D
Anyway, great lesson - thank you!
3:00 and it sounds like this: "skips it entirely"
F0nkyNinja the clip for drop 3 was right before he explained what it is
Rick I didnt understand one thing. If you are playing Cmajor7 drop 2, you drop the G. But you play G as the bass note? And you play it with the left hand and the rest of the chord with the right hand? Thanks :)
The 'dropped' notes are always being taken down by an octave. So G being the 2nd highest tone and a 5th above the root (C), dropping it by an octave puts it a perfect 4th below the root, essentially making it the new root note. As far as how the notes are typically distributed on a keyboard, I'd imagine the left hand becomes particularly necessary when dealing with drop 2 + 4 voicings which essentially takes the lowest (root) note and the 2 tone down an octave, increasing the spread between the root + 5th, and the rest. However, it seems to me that once the inversion and drop voicing is figured out, you're free to spread the notes however you feel sounds best...
Wow.
Would a drop vocing be considered a inversion too??
What would you do with the bass in these voicings ? Does the dropped voice become the bass ? Thanks
Moksha That's what I want to know.
Moksha It doesn't have to. Any note in the chord can be the bass it just depends on where you are in the progression.
What would you call it when you have a standard 3-note chord with the top note dropped an octave? For instance, an E minor (E3 G3 B3), but with the B dropped an octave so the chord becomes “B2 E3 G3”
That’s a 2nd inversion triad. If you voice a triad with the third in the bass, in this case g, you’ll get 1st inversion. If you do the same, but instead voice the 5th in the bass, B, you’ll get 2nd inversion. Hope this helps.
I'm not a keyboard player (and barely even a guitarist), but is this what Lyle Mays is using on Ozark?
Why are the voices numbered from top to bottom? Especially since we generally spell chords from bottom to top.