What are drop 2 voicings on guitar?
A drop 2 voicing is a four-note chord in close position with its second note from the top lowered an octave. Take E7 close with the 3rd on top, B D E G#, and drop the E: the chord becomes E B D G#, root, 5th, 7th and 3rd from the bass up. That is the root position drop 2 of E7.
A close seventh chord is too tight to finger on guitar, so dropping one voice spreads it over four strings side by side, one note on each. Every drop 2 voicing has four inversions, with the root, the 3rd, the 5th or the 7th in the bass. Here they sit on strings 4 to 1 and on strings 5 to 2, so each chord reaches the B string.
What is a drop 3 voicing?
A drop 3 voicing lowers the third note from the top instead. E7 close with the 5th on top, D E G# B, becomes E D G# B: root, 7th, 3rd and 5th. The low note moves away from the others, so the chord skips a string: on this page drop 3 sits on strings 6, 4, 3 and 2, with the 5th string muted. The table shows how both voicings stack E7 in each inversion.
| Voicing | Chord tones, bass first | E7 notes |
|---|---|---|
| Drop 2, root position | R 5 7 3 | E B D G# |
| Drop 2, 1st inversion | 3 7 R 5 | G# D E B |
| Drop 2, 2nd inversion | 5 R 3 7 | B E G# D |
| Drop 2, 3rd inversion | 7 3 5 R | D G# B E |
| Drop 3, root position | R 7 3 5 | E D G# B |
| Drop 3, 1st inversion | 3 R 5 7 | G# E B D |
| Drop 3, 2nd inversion | 5 3 7 R | B G# D E |
| Drop 3, 3rd inversion | 7 5 R 3 | D B E G# |
Phrygian dominant drop 2 chords on strings 4 to 1
On the four high strings the seven seventh chords of E Phrygian dominant in root position are E7 xx2434, Fmaj7 xx3555, G#dim7 xx6767, Am(maj7) xx7998, Bm7b5 xx9aaa (frets 9 and 10), Cmaj7#5 at fret 10 and Dm7 xx0211 with the open D string. These shapes are light and bright, the usual choice for comping over a bass player or a second guitar.
Phrygian dominant drop 2 chords on strings 5 to 2
Moved to strings 5 to 2 the same voicings sound fuller, with the bass on the A or D string: E7 x7979x, Fmaj7 at fret 8, Am(maj7) x0211x, Bm7b5 x2323x, Cmaj7#5 x3645x and Dm7 x5756x in root position.
Why some drop 2 chords stretch over five frets
In maj7, m(maj7) and maj7#5 chords the 7th sits a half step under the root. In some inversions on strings 5 to 2 that half step lands on two neighbouring strings far apart on the neck: Am(maj7) in 1st inversion, x3625x, reaches from fret 2 to fret 6. These shapes are the only form of that inversion, so they stay; slide the hand rather than force the stretch.
Phrygian dominant drop 3 chords on strings 6, 4, 3 and 2
Drop 3 puts the bass on the 6th string and the other three notes on strings 4, 3 and 2, the 5th string muted by the finger on the bass: Fmaj7 1x221x, G#dim7 4x343x, Am(maj7) 5x655x, Bm7b5 7x776x and Cmaj7#5 8x999x in root position. The low bass with a gap above it makes drop 3 a good choice for solo guitar.
How to use drop 2 voicings in Phrygian dominant
Drop 2 voicings let every voice move a short way. Play E7 xx2434 and then Fmaj7 xx3555 on strings 4 to 1: E rises to F, B to C, G# to A and D to E, the bII to I cadence of the scale in four smooth lines. Go back to E7 to close it.
For the open shapes of all seven chords, in every key, see Phrygian dominant chords on guitar; for triads with another note in the bass, Phrygian dominant chord inversions; and for the cadences to practise these voicings on, Phrygian dominant chord progressions.
Phrygian dominant drop 2 voicings in every key
The table names the seven seventh chords of every key, and each key links to its drop 2 and drop 3 diagrams near the end of the page.
| Key | Seventh chords |
|---|---|
| C | C7 Dbmaj7 Edim7 Fm(maj7) Gm7b5 Abmaj7#5 Bbm7 |
| C# | C#7 Dmaj7 E#dim7 F#m(maj7) G#m7b5 Amaj7#5 Bm7 |
| D | D7 Ebmaj7 F#dim7 Gm(maj7) Am7b5 Bbmaj7#5 Cm7 |
| Eb | Eb7 Fbmaj7 Gdim7 Abm(maj7) Bbm7b5 Cbmaj7#5 Dbm7 |
| E | E7 Fmaj7 G#dim7 Am(maj7) Bm7b5 Cmaj7#5 Dm7 |
| F | F7 Gbmaj7 Adim7 Bbm(maj7) Cm7b5 Dbmaj7#5 Ebm7 |
| F# | F#7 Gmaj7 A#dim7 Bm(maj7) C#m7b5 Dmaj7#5 Em7 |
| G | G7 Abmaj7 Bdim7 Cm(maj7) Dm7b5 Ebmaj7#5 Fm7 |
| G# | G#7 Amaj7 B#dim7 C#m(maj7) D#m7b5 Emaj7#5 F#m7 |
| A | A7 Bbmaj7 C#dim7 Dm(maj7) Em7b5 Fmaj7#5 Gm7 |
| Bb | Bb7 Cbmaj7 Ddim7 Ebm(maj7) Fm7b5 Gbmaj7#5 Abm7 |
| B | B7 Cmaj7 D#dim7 Em(maj7) F#m7b5 Gmaj7#5 Am7 |
Phrygian dominant drop 2 and drop 3 voicings in all 12 keys
For every key: the seven seventh chords in root position as drop 2 on strings 4 to 1 and 5 to 2, and as drop 3 on strings 6, 4, 3 and 2.
C Phrygian dominant drop 2 voicings
In C Phrygian dominant the seventh chords are C7, Dbmaj7, Edim7, Fm(maj7), Gm7b5, Abmaj7#5, Bbm7. As a drop 2 voicing in root position the home chord C7 is played C G Bb E from the bass up; as a drop 3 voicing, C Bb E G.
C scaleC open positionC positionsC fretboardC one stringC double stopsC chordsC inversionsC drop 2C arpeggiosC progressionsC backing track
C# Phrygian dominant drop 2 voicings
In C# Phrygian dominant the seventh chords are C#7, Dmaj7, E#dim7, F#m(maj7), G#m7b5, Amaj7#5, Bm7. As a drop 2 voicing in root position the home chord C#7 is played C# G# B E# from the bass up; as a drop 3 voicing, C# B E# G#.
C# scaleC# open positionC# positionsC# fretboardC# one stringC# double stopsC# chordsC# inversionsC# drop 2C# arpeggiosC# progressionsC# backing track
D Phrygian dominant drop 2 voicings
In D Phrygian dominant the seventh chords are D7, Ebmaj7, F#dim7, Gm(maj7), Am7b5, Bbmaj7#5, Cm7. As a drop 2 voicing in root position the home chord D7 is played D A C F# from the bass up; as a drop 3 voicing, D C F# A.
D scaleD open positionD positionsD fretboardD one stringD double stopsD chordsD inversionsD drop 2D arpeggiosD progressionsD backing track
Eb Phrygian dominant drop 2 voicings
In Eb Phrygian dominant the seventh chords are Eb7, Fbmaj7, Gdim7, Abm(maj7), Bbm7b5, Cbmaj7#5, Dbm7. As a drop 2 voicing in root position the home chord Eb7 is played Eb Bb Db G from the bass up; as a drop 3 voicing, Eb Db G Bb.
Eb scaleEb open positionEb positionsEb fretboardEb one stringEb double stopsEb chordsEb inversionsEb drop 2Eb arpeggiosEb progressionsEb backing track
E Phrygian dominant drop 2 voicings
In E Phrygian dominant the seventh chords are E7, Fmaj7, G#dim7, Am(maj7), Bm7b5, Cmaj7#5, Dm7. As a drop 2 voicing in root position the home chord E7 is played E B D G# from the bass up; as a drop 3 voicing, E D G# B.
E scaleE open positionE positionsE fretboardE one stringE double stopsE chordsE inversionsE drop 2E arpeggiosE progressionsE licksE ornamentsE flamenco techniqueE backing track
F Phrygian dominant drop 2 voicings
In F Phrygian dominant the seventh chords are F7, Gbmaj7, Adim7, Bbm(maj7), Cm7b5, Dbmaj7#5, Ebm7. As a drop 2 voicing in root position the home chord F7 is played F C Eb A from the bass up; as a drop 3 voicing, F Eb A C.
F scaleF open positionF positionsF fretboardF one stringF double stopsF chordsF inversionsF drop 2F arpeggiosF progressionsF backing track
F# Phrygian dominant drop 2 voicings
In F# Phrygian dominant the seventh chords are F#7, Gmaj7, A#dim7, Bm(maj7), C#m7b5, Dmaj7#5, Em7. As a drop 2 voicing in root position the home chord F#7 is played F# C# E A# from the bass up; as a drop 3 voicing, F# E A# C#.
F# scaleF# open positionF# positionsF# fretboardF# one stringF# double stopsF# chordsF# inversionsF# drop 2F# arpeggiosF# progressionsF# backing track
G Phrygian dominant drop 2 voicings
In G Phrygian dominant the seventh chords are G7, Abmaj7, Bdim7, Cm(maj7), Dm7b5, Ebmaj7#5, Fm7. As a drop 2 voicing in root position the home chord G7 is played G D F B from the bass up; as a drop 3 voicing, G F B D.
G scaleG open positionG positionsG fretboardG one stringG double stopsG chordsG inversionsG drop 2G arpeggiosG progressionsG backing track
G# Phrygian dominant drop 2 voicings
In G# Phrygian dominant the seventh chords are G#7, Amaj7, B#dim7, C#m(maj7), D#m7b5, Emaj7#5, F#m7. As a drop 2 voicing in root position the home chord G#7 is played G# D# F# B# from the bass up; as a drop 3 voicing, G# F# B# D#.
G# scaleG# open positionG# positionsG# fretboardG# one stringG# double stopsG# chordsG# inversionsG# drop 2G# arpeggiosG# progressionsG# backing track
A Phrygian dominant drop 2 voicings
In A Phrygian dominant the seventh chords are A7, Bbmaj7, C#dim7, Dm(maj7), Em7b5, Fmaj7#5, Gm7. As a drop 2 voicing in root position the home chord A7 is played A E G C# from the bass up; as a drop 3 voicing, A G C# E.
A scaleA open positionA positionsA fretboardA one stringA double stopsA chordsA inversionsA drop 2A arpeggiosA progressionsA licksA ornamentsA flamenco techniqueA backing track
Bb Phrygian dominant drop 2 voicings
In Bb Phrygian dominant the seventh chords are Bb7, Cbmaj7, Ddim7, Ebm(maj7), Fm7b5, Gbmaj7#5, Abm7. As a drop 2 voicing in root position the home chord Bb7 is played Bb F Ab D from the bass up; as a drop 3 voicing, Bb Ab D F.
Bb scaleBb open positionBb positionsBb fretboardBb one stringBb double stopsBb chordsBb inversionsBb drop 2Bb arpeggiosBb progressionsBb backing track
B Phrygian dominant drop 2 voicings
In B Phrygian dominant the seventh chords are B7, Cmaj7, D#dim7, Em(maj7), F#m7b5, Gmaj7#5, Am7. As a drop 2 voicing in root position the home chord B7 is played B F# A D# from the bass up; as a drop 3 voicing, B A D# F#.
B scaleB open positionB positionsB fretboardB one stringB double stopsB chordsB inversionsB drop 2B arpeggiosB progressionsB backing track
Phrygian Dominant Drop 2 Voicings: frequently asked questions
Short answers to the questions guitarists ask most about the Phrygian dominant drop 2 voicings.
What is a drop 2 chord?
A four-note chord in close position with its second note from the top lowered an octave. E7 close as B D E G# becomes E B D G#: root, 5th, 7th and 3rd from the bass up, played on four strings side by side.
What is the difference between drop 2 and drop 3?
Drop 2 lowers the second note from the top and fits on four strings side by side. Drop 3 lowers the third note from the top, so the bass sits further from the other notes and the chord skips a string, as on strings 6, 4, 3 and 2.
Which string sets are best for drop 2 voicings?
Strings 4 to 1 for a bright, light sound and strings 5 to 2 for a fuller one. Drop 2 on strings 6 to 3 sits on the bass strings only and sounds muddy, so this page leaves it out.
Why are some drop 2 shapes so wide?
In maj7, m(maj7) and maj7#5 chords the 7th is a half step under the root. In some inversions those two notes fall on neighbouring strings far apart on the neck, so the shape spans five frets, like Am(maj7) x3625x.
How many drop 2 voicings does each chord have?
Four on each group of strings, one per inversion: the root, 3rd, 5th or 7th in the bass. Played in order they climb the neck and cover it in one octave.