Drop 2 Voicing for Guitar

Abstract

The Drop 2 voicing is a type of chord voicing that is widely used among jazz musicians, particularly guitarists from the bebop era such as Wes Montgomery Barney Kessel and Joe Pass. This is because of the Drop 2 voicing is well-suited to the guitar's range and is easy to play. In this article will systematically discuss the concept of the Drop 2 voicing for guitar, which includes the theory of creating Drop 2 voicings, adding color to the voicings by incorporating various tensions and the important topic of this article is how to apply Drop 2 voicings in different contexts. It will also provide specific examples from legend jazz guitarists.

The Drop 2 voicing involves relocating the second highest note of four-way close voicing down by one octave. There are 4 basic chords used in the Drop 2 voicing include Major seventh chords, Dominant seventh chords, Minor seventh chords, and Half-Diminished seventh chord. Each chord has 4 voicings: root position first inversion second inversion and third inversion. Each voicing on the guitar has a different chord shape, which can be categorized into three groups based on the guitar strings set: the top set (strings 1, 2, 3, 4) the middle set (strings 2, 3, 4, 5) and the bottom set (strings 3, 4, 5, 6). The top set and middle set are used most frequently because they are in practical rang for guitar, while the bottom set is rarely used due to its lower rang and less clarity. But this also depends on the situation and context of the performance. After understanding standard Drop 2 voicings, various embellishments will be added to the chords, considering the available tensions for each chord. The Major seventh chord has available tensions including tension 9 and #11. Minor seventh chord, the available tensions are tension 9 and 11. The Half-Diminished seventh chord has available tensions, which are tensions 9 and 11. Dominant seventh chord has available tensions include tension 9, b9, #9, #11, b13 and 13. To create color and complexity by adding tensions to the Drop 2 voicing, certain notes in the voicing must be omitted. Adding a tension 9 (9, b9, #9) to a Drop 2 voicing requires removing the root note (9 for 1) or adding tensions 11, 13 (11, #11, b13, 13) requires removing the 5th note. (11, 13 for 5). However, tensions 9 and 11, 13 can coexist within the same voicing. Adding various tensions not only makes the chords more colorful and versatile for different applications but also transforms the chords into enharmonic chords.

Adding the tension 9 to the chords CMaj7, C7, C-7, and C-7b5 results in the enharmonic chords E-7 E-7b5 EbMaj7 and Eb-Maj7. In the case of adding the tensions b9 and #9 to altered dominant chords, the enharmonic chords Eº7 and EºMaj7 are obtained. Adding the tension 11 to the chords C-7 and C-7b5 to get the enharmonic chords F7sus4 and F#Maj7b5. Adding the #11 tension to the CMaj7 and C7 chords giving the enharmonic chord F#-7b5(11) and F#7b5. Adding the 13 and b13 tensions to the C7 chord giving the F#7(#9,#11) and F#7(9,#11) enharmonic chords. In the case of altered dominant chords, it is common to use two tensions together as follows: C7(b9,#11) has a enharmonic chord as F#7, C7(b9,b13) has a enharmonic chord as Bb-7b5, C7(b9,13) has a enharmonic chord as BbºMaj7, C7(#9,#11) has a enharmonic chord as F#7(13) and C7(#9,b13). has a enharmonic chord as EMaj7b5.

In the application of Drop 2 voicings, particular emphasis is the top note of the voicing together with the available tensions of each chord. In this article will focus on demonstrating the use of the Drop 2 voicing in three different ways: using it to harmonize the melody on the guitar, where the top note must be the main melody; using it for improvisation in a block chord style, where the top note must be the melody used for improvisation; and using it for accompaniment, where the top note of the voicing can move freely but must provide a good voice leading, that supports the improviser. The approach to voice lead can take several forms, including common notes stepwise motion chromatic movement or the use of patterns. In all three cases, available tensions must be chosen according to the context of the song. The author provided example of harmonizing a melody by using the Drop 2 voicings on the tune "There Will Never Be Another You" performed by Joe Pass, a jazz guitarist from the bebop era. And also demonstrated the use of Drop 2 voicing to harmonize the song "Prelude to a Kiss" composed by Duke Ellington. Examples were given of using the Drop 2 voicing technique to create an improvisation in the style of block chords on the song "Gone with the Wind" performed by jazz guitarist Wes Montgomery. In the accompanying performance, the author provided an example of a blues in the key of F, demonstrating the use of the Drop 2 voicing technique for accompanying and employing various voice leading techniques, including common notes stepwise motion the use of patterns and chromatic movement.