The focus of this lesson is on the raised two sum as drop-two voicing. If you can spell a seventh chord, then you can produce a voicing that works. We're talking about the root, the third, the fifth, and the seventh of a chord. Raised two voicing takes the second note from the bottom, in this case the third, and we move it up an octave, giving us a structure of root, fifth, seventh, and third. Again, if you can spell a C dominant seventh chord, C, E, G, B flat, the new configuration would be C, G, B flat E. This, of course, would work for any of the chord qualities. For minor seven, it would be C, G, B flat, E flat. So this is the idea. We've make a voicing where it starts out like this, and then we move the second voice from the bottom up an octave. That gives us a raised two same as drop-two shape. I'm going to put it on the guitar, C7 chord, C, E, G, B flat, C, E, G, B-flat. I'm being careful to make it so that the second note is on the same string as the first note that I'm playing. So C is on the first string, E is on the fifth string, and now the other two notes, G and B flat, are on strings four and three. So now I take the note that is the second note from the bottom, this E, and I'm moving it up an octave within reach of my hand. So takes this and makes it into this. It's a false sounding chord. A great teacher, Jack Petersen, told me one time, "We don't have enough fingers to have octaves in chords". What he meant is you should have control of the voices that you have and if you want to add octaves, you should. But if they just happen to fall under your fingers, that might not be the most musical way of making a decision. So what we're doing is clean and clear seventh chords. C, G, B flat E. As I was saying with the chords a minute ago, a C minor seven would be C, E flat, G, B flat. So I could take the E flat, the second note from the bottom, and move that one up an octave within reach and then we end up with this, which is a nice solid voicing. Now, many of you may know these voicings already, but when you get to different, more exotic sounds, this formula will really help you a lot, like a C7 sus four C, F, it's hard to reach that one, G, B flat. So I take the f and put it up an octave within reach and where my fingers are and this becomes this and gives us a C7 sus.