Description
In this week’s guitar lesson, you’ll learn how useful triads can be when playing rhythm, lead, or harmonized leads (harmonized 3rds and 6ths).
You might consider reviewing the Part 1 video from EP362 (here’s a link) before viewing this lesson.
Part 1 - Free Guitar Lesson
Slow Walkthrough
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Video Tablature Breakdown
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Hi Brian.
Just letting you know that your Part 2 Video is not visable.
Garry
There is no Part 2 for this one.
like
For me this is the best lesson ever
Well, actually at 01:50 you’re talking about a 2nd part in a premium video, with a song to learn.
Some of your overhead lightings is interfering with the ability to see what you are playing (especially) top three strings. When you rock back and forth, clarity is in and out. FYI.
I didn’t see that one coming.
Brian,
Wow! Thanks.
deece
Very helpful! Thanks
Hi Brian, just want to say that triads is something I really want to learn more about. Just love the melodies that come out of playing them. Hope there will be more lessons like this one and EP-362 thanks Brian for a great lesson.
Thanks for the deep dive into triads. The fog is starting to lift!
Thanks Brian. I hope this not to far out in the weeds. In G major instead of e minor I used b minor it made the G chord sound M7.
And if I move down 2 frets I got the B9 (or D9 or C6).
Also if I used the b minor in with the D chord I a D6 and moving down 2 frets a D9
The b minor used with the creates and interesting progression.
Thanks
Great lesson
Ken Fehr
Hey Ken, I concur, because it is staying with the same logic as with the G and Em so If your going to use D as your root chord than Bm is IT’S relative minor so the Bm is also the D6, move down 2 frets and you have D9.
And I also agree that Bm has these notes….B,D and F# and if you were to put a G on the Bottom, that would make it a G major 7
Would appreciate some feedback from some others on this as well. good job Ken
Paddy
This is really an eye opener as far as I’m concerned. For me anyway cause now I can find myself a 6 chord or a 9chord using these minor chords.
let’s see if this is true.
Am can be called a C6. move it down 2 frets and it can be a C9. let’s try another. Dm can be called an F6. move it down 2 frets and it’s an F9
So it holds true that in the Case of EP399 in G Em is it’s relative minor and is also a G6, move it down 2 frets and it’s a G9 also.
Paddy
I think he is referring to the slow walk through…..it is not paying for me either
I have been doing a lot of work on learning triads all over the neck so this is a perfect lesson for me. Thanks Brian. Love the guitar!
Sounds gorgeous! So simple yet so effective. On my to do list for this weekend!
Thank you. Another very enlightening lesson for me.
Brilliant lesson. Just what I needed in triads.
You’re up late, Brian. Do we post our lightbulb moments on the wed. video or just anywhere?
Hi Brian, I need a lightbulb moment. I have never been able to understand the transition part of this program and that would be helpful in this lesson. The transition indicates a key of C but you are using the 1, 4, 5 starting on G. When you change the indicator to G it shows the compostion in 1, 4, 5 Key of D. I see the C as a Lydian mode and the D as a Mixolydian mode. If you count back 5 from the D the Key is G. I am having trouble piecing it all together. I realize it doesn’t affect the way to play the chords I just want to understand the theory behind it.
That made my brain hurt lol. I just took the chord progression as the I iv IV V of G. Hopefully someone can help you out.
I vi IV V*
Looks like a I vi IV V. When he gets to the V chord, he uses a D6 to a D9 (if i understand correctly).
Hope this helps.
yes, you got it! I forgot to mention that D6 / D9
Hey Dave, I read that comment 4 or 5 times and don’t understand it at all. Sorry man, I just can’t follow
I’m sorry, I should have said transpostion under settings.
Great Lesson Brian! Does it finish on the IV chord in order to make it a loop? I’m assuming to resolve at the end of the song we would finish on the I right?
I actually started your lessons with 362. So It’s pretty awesome to see another triad deep dive.
You can think of it as a 1, 4, 5 progression – with the 6 minor thrown in between the 1 and the 4.
Thanks, Brian!
Yeah, I get that, I just don’t understand why the transpostioner incates the key of C.
I’d venture to say that C is the default key and it will remain there unless Brian changes the starting key when he produces the tab.
I don’t know for sure how it works, but that’s my guess. I would disregard the key that it says we are playing in and just rely on what information Brian gives regarding the key of the song.
Hope that’s helpful.
By the way, thanks for bringing this up! I had no idea that I could easily transpose the tab into another key!! I love it!
This is a 60’s classic, I, vi, IV, V chord progression. In this case, in the key of G. So, G, em, C, D. Just know he is using a D6 voicing for the D (V) chord. Not sure what a “transpostioner” is?
Dear Brian,
I’m a Hungarian fun of you. I would like to ask you to enable the captions (if possible) in your videos. It helps me in better understanding.
Since I started practicing your lessons my kids leave open the door of my hobby room. I think I’m improving on the guitar because they used to close it…
Thank you.
Lots of flashes in the room as the lightbulbs keep going off! Love these lessons with theory,
Thanks for this one Brian, it goes so well with 362. Reinforcing the triads was awesome, and finally making more sense out of the sixes and thirds with this one. Why work hard when you have triads to play. Thanks again!
Such an important topic for unlocking the fretboard. It took me years to learn triads “on-the-fly” and you encapsulated so much information into such a neat little package. Newer players should definitely get these triads in your brain. Brian just show how easily you can cover 12-14 frets and tie it all together and understand there’s a G here, and a G here, and a G here. Very, very valuable lesson.
Gorgeous Tele Brian, and the intonation is so sweet
Fantastic lesson, Brian! This should’ve been EP 001 instead of 399 😂 Can’t wait to thoroughly study this material, so it will hopefully be set in concrete for good. Love the new guitar, too.
Hi Brian
I’ve learnt more from you channel than all the others combined and believe you me I’ve spent *years* trying to understand it. Luvin’ the backing tracks to play along with and the crystal clear explanations
Exactly how learning the guitar was meant to be – fun to play!!
Thanks!
Fraser
Hi Brian, this sounds like the start to an amazing 50’s style instrumental. Any chance of a longer version?
I call it the Blue Moon progression. I vi lV V (C Am F G ) Here’s a nice slow version to work up your triads with!!
https://www.youtube.com/watch?v=8bKUBNFhW3g
Great, thanks.
Love it. I agree with David L., sounds very 50’s and being from that time slot I would also like more like this. Thanks, it made me feel like I was a teenager again.
I would love to see and hear your take on sleepwalk played in the key of G
Do Wop!!!
Brian, I learned a lot from this lesson.Thanks
Two GREAT lessons back to back. I’ll be playing guitar while the rest of my family will be watching the Super Bowl.
Two GREAT lessons back to back. I’ll be playing guitar while the rest of my family is watching the Super Bowl.
Brian,
A fine lesson very useful especially the practice arrangements. you have made a great finish to the 3rd Century of EPs. These 3 hundred series lessons have really been an amazing treasure trove of information, so useful for us all.
The Big 400 is next WOW!
Thanks
JohnStrat
Really great Lesson Brian, thank you. Also – very cool, understated looking guitar – love it:-)
P.S.
Glad to see you out of the basement.
Been doing AM as a Premium member for 2 years and at 67 playing for years, AM makes more sense than most of the other teachers on YT. Have gotten so much out of each one and it all is coming together now! I could NEVER find a guitar teacher who know how to “teach” the instrument as well as Brian. Thx!
Very COOL guitar! For me the title of this lesson is now; How Triads Can Change Your Life! A rather bright lightbulb replacing the old one. Thanks.
Thanks for taking the time to look at my question. I think I’m getting a grasp on it. My light bulb seems to be on a fader however. Your transpositioner is an excellent, excellent feature for this lesson. I think I would have named it key transposer, but that’s just a name, but the only way it could be any cooler is if the music changed with the key change. Where my confusion comes in is this lesson was written in G 145 format. But it is in the key of C, right? I have always thought of the first measure as the key of the composition but apparently that isn’t necessarily so. I then realized there were no sharps or flats in the key signature so instead of being G, the key is actually C. And I guess that’s why when you play the 1 and 4 and you talk about playing the key scale on the five you are not talking about playing G you’re talking about playing C, playing the G scale with just be playing the cord and not the key? That would explain the transposer showing this lesson in the key of C. I hope I’m right in this logic, this is very important to me and has been an area that I’ve been in the dark in for a long time. Please confirm that my thinking is correct in this. Thank you.
Dave, I answered this earlier, but let me answer it here. I don’t know what this “transpositioner” is? As far as the tab not showing sharps or flats in the signature, that’s just the way it works. It is a “generic” signature. Sharps and flats are shown in the tab as incidentals. I know, very confusing. But, that is just how the tab generator works. In other words, ignore the key signature in the tab, and focus on the chords in the song.
So, the song IS in the key of G. You are right, the first measure/chord is generally the key of the song, and it is here also. The chord progression is a classic I, vi, IV, V chord progression. (G, Em, C, D.) But, in this case, he uses a D6 voicing for the D chord.
Hope this helps.
It really is huge having tab for every key in this lesson.
Brian, I have learned more in the last year than in the last 40 years trying to learn from others and myself. Your the best I know of at teaching others. Thanks again for all you do.
Dave
Ive been playing the intro to “It’s All Right” by The Travel Wilburys, for a long time not knowing why. You have just explained it.
Actually the Wilbury’s song is “End of the Line”
Brian were did You buy that great sounding guitar from.
Ralph Listen to the video and you will discover.
Great lesson!!! Been struggling with this after learning caged and notes on the neck etc. Slowly the lightbulb is coming on. Thanks Brian congrats on the new guitar!!!!
Hey Brian, Nice hairdo. Oh, and thanks for the lesson. 🙂
Didn’t that guitar used to be pink?
Jason,
listen to the lesson and you will discover.
👍🏻☺️
Hi Brian, that is the best explanation of 3rds & 6ths I’ve ever heard …thanks .
A great theory lesson on triads. This is very helpful.
Thanks Brian
Ray P
Thanks Brian. Love Theory. More please.
The triad lessons have been very helpful. I gather little bits each lesson. The light bulb is getting brighter. Thank you!
The light bulb indeed went off!
Brian – on a different note! How about a lesson on musical grooves or styles?
It would be really helpful if you could for example, take the same chord progression and play it in different grooves to highlight the unique feeling of each. I think this would be valuable.
Cheers
More on triads, good job Brian
Great lesson! I appreciate you. Every time I need to know something, Bam…you teach it right away. I was asked to send a birthday video to a friends hubby, within days of you posting the Happy Birthday lessons in early December. (AwesomeJazzy btw) …then…Yesterday I was playing my Blues playlist of songs and there were some chords I was searching out ,then Bam… this lesson! Thank you and will review this several times!
CC
This lesson is very helpful with the harmonized thirds and sixths. Also # 362 was really helpful. Really good stuff out of the pandemic, thanx Brian.
Jim
Wow, I am starting to put it together. I have known the 6th and 9th progression on Brown Eyed Girl for some time. I have never really understood why it works till today. I was able to move up to the next major chord inversion and start playing around with new sounds. Nice! The chord progression I vi IV V is what Dion used for Run Around Sue. I have always played it in first position without any fills. Now its time to apply what I have learned. Thanks for a great lesson, if you have any suggestions regarding application, I’m all ears!
Kind of thinking I might regret asking this question – but here goes! Looking at the tab, there is a D9 triad formed by barring the top three strings at the fifth fret. Why is this a D9 and not a Am, or even a kind of C chord?
watch the Part 1 video in EP362 – you’ll see how 9 chords and 6 chords are made up of minor chords
It’s both
Ah, worked it out! The name allocated to the. Hird is based on the key of the tune, I think.
Was excited to see this lesson as I have been working on harmonized 3rds and 6ths, but I must say that I’m disappointed that there isn’t the standard Part 2 video that describes the song details as they are played. The theory part was great, but for me at least, not having the song’s deep dive in a Part 2 significantly detracts from the lesson.
OK never mind my gripe! I now see that the music itself is super short and equally easy to figure out from the tab info.
this is right where I am and have been ‘hovering’ around in my playing for sometime. It is the perfect lesson for my skill level. I can spend a year or two just soaking this up. Love the harmonized chords. Are they what a lot of players call “double stops?” I think so.
Great lesson. Thanks.
hey Brian, kinda new member here, and really enjoying the 2nd videos, especially the fretboard expansion on the premium level. Wow that makes a difference for me, as I’m a more visual type of learner. Just a shout out to say Thanks brother. Loving this site.
OK maybe these lightbulbs will help some relative newbies like me. They are not music theory related, however. 1 When trying to get a new chord to ring fully and clearly, press lightly, not harder. Adjust your fingers and wrist. 2 Play through the pieces you are working on last thing just before bed. They will come easier tomorrow. 3. For help with timing and new rhythm patterns, play along with recordings. 4 record yourself 5. Learn songs and sing. You’ll get a more positive response from anyone listening if you sing, it helps your rhythm playing, and its fun! 6. Don’t over-practice. It won’t help much. Brian. If there are a lot of similar tips from other students, perhaps they should have their own place on the website, for people who just want to survey the lightbulb moments. Maybe there won’t be that many.
wow, that’s really a powerful lesson…I could use more like this…the last part is is just jam packed..I could use more info on how to use the 3 s and 6s in minors keys..and the riffs and ideas using them in songs..thaks
Double Shot Of My Baby’s Love!!
Make me think of John Fogerty – i.e. Lodi intro. I find John Fogerty does dozens of great riffs & intros that are simply caged chords.
Thanks, Brian. I had noodled around with the 3rds and 6ths, but did not realize the underlying triads! I really like this lesson and am so glad to be a part of your community!
Thanks, Brian. Fun and useful lesson.
I’m wondering if there is a resource for the
3 or 4 string scales that match each of the the chord fragment triads?
Love the lesson and the new guitar….that said, thats’s an interesting banjo you have there on the couch, my friend…is there a story behind it? 🙂
that’s a Dogwood, open back banjo
You had mentioned that you really never thought about the 6 notes on 6 strings. Did you realize that all major 6 string root chords are 1,5,1,3,5,1 and on the 5 string are 1,5,1,3,5?
Very useful lesson. And fun to play around with these new mini chords.
As usual Brian, the smoothest, well thought out, best presented lessons for practical application anywhere; thanks as always.
Wow! There is a HUGE amount of stuff in there. And ALL of it useful. It’s going to take a while to absorb it all but thanks soooo much for all that, Brian. Fantastic lesson at mesmerising speed.
I love this lesson. The great little tune based on the triads reminds me a bit of something Bill Frisell might play! Quite a few things are coming together for me with this one.
Can someone pls help solve a little puzzle?
In the last bar, on the G string, it goes C(5th fret) to B(4th fret) then to the two notes of a D chord. This sounds great but I’m wondering what is the thinking behind the selection of C and B notes in the transition to the D chord?
The only thing I can see of is that it a D mixolydian scale walk down?
Wow Brian what a great story…I want to be the second part of your great story and win that Strat! I’ll pay it forward and donate one of my guitars if I win…probably will donate anyway! I’m inspired! Please keep it up!
Very useful lesson this one Brian. Lots of takeaways. Been using the backing track progression for practice all week.
Another great lesson Brian. Many thanks.
Wondering if you could do a deep dive on triads on strings 2-3-4 and also on guide tones and how to use them with triads.
I am learning so much from your approach. Very grateful.
-cb.
Hi Brian, I started watching your videos on YT, your lessons are simple and easy to understand
I recently started watching your videos, and you have an easy to understand way of teaching guitar, I’ve learned a lot in a few lessons, than in all the years I’ve tried to learn the guitar, thanks!
Really very inspiring lessons. Thanks Brian. Over 70 but still learning daily. Cheers from Alberta.
Great lesson. first time I used the video tab on this site. In the last few lessons I’ve taken, it has been helpful to finally identify were these triads intersect with the scales. Thanks for all “take aways”
I highly recommend these triad lessons. As Brian says, this approach is great for the basics of rhythm and lead playing. I’ve seen a lot of teaching approaches to triads over my 40 years of playing, and this is the best one I’ve come across.
Learn these basic forms on the top three strings. You can use scale tones to connect the triads and all of a sudden you are making music. Your ear will be your guide.
I would add Tritones to your knowledge base after mastering triads. The III and VII define the tonality of any chord or scale.
Hello great lesson, where can I find part 2? Thanks
Sorry Brian, but which song and part 2 did you mean?
As always, Great Stuff Brian!
Mind. Blown. Great lesson Brian. So much value for me starting to improvise.
Hi Brian, this is Melanie, I took the blues course lessons, but i am at the frustration part. I always revert to “you are my Sunshine” to practice the scales and that is working out ok, however I have no idea what to do with any of the licks, I can learn them all day, but dont know what I’m supposed to do with them. Is there a song with 3 chords in it i can put all those licks in and make them sound like a song, or do I need a melody first then throw in a lick and im having a hard time trying to place them arbitrarily in a song. now the christmas songs you did, helped with that, but the blues course licks I just dont know what to do with. do you have any advise for me. I was thinking about “Great balls of fire”. I just dont know how the licks are placed with the minor penta and major pent.. thank you. Melanie
Really beautiful Brian. I signed up for membership after seeing this specific lesson online. I like everything about it, and that tone you’re getting. Holy cow what a gorgeous tone. I’m loading the backing tracks into my looper pedal next… Thank you…
Fantastic lesson. Thank you so much. did my own part two-Improvised over a track and attempted at applying at all right away.
Just signed up for the premium membership and already so happy. Your site is great. I have been watching you on youTube for months with out totally catching on. Now that I can watch, look at the tab, and listen to the slow walk thru- I have made huge strides in my playing. Thank you!
Hey Brian
thanks for a great lesson, its amazing that I have played some these for a long while but seem foreign when you think of theory application instead of just shapes, I don’t get much time practice, I am a visual learner so this one is good for me to increase fret board knowledge to go over a few times. when I play with other people I’m nervous and it all goes out the window LOL, want to build-up confidence to be able fit in the mix for some fun. Appreciated !
Darren
An important lesson for me. More reinforcement in visualizing CAGED and understanding the 6ths and 9ths. Really helpful.
Brian; I’ve been concentrating on your CAGED (EP273) lesson – which actually contains a huge amount of information and needs a lot of work – and this triad lesson, and I swear I’ve learned more about the guitar in the last few weeks than I learned in the 10 years prior to that. I looked at a lot of guitar stuff on the internet and I have no doubt your is the best. I really don’t know how you do it but these lessons just keep getting better. Love it. Many thanks.
Peter
I’ve looked everywhere and still cant find the Promised Part 2.Where is it located???
Dave
I’ve been watching your lessons for years but I’ve never used the video tab breakdown before with the neck display …. a revelation. Brilliant! Fantastic lesson by the way… one of your best.
AWESOME lesson Brian,
THANK YOU SO MUCH !
I do not see a part 2? Others have made the same comment…what am I missing?
That lesson was awesome. I just clicked together a bunch of pieces by seeing things from a prospective.
I love this lesson. Anyone else having problems with the Soundslice video? Usually it won’t load for me. When it does load I can’t control it with the on screen controls or with the Vidami foot pedal
Beatifull.Great lesson. Still a bit greak to me but hopefully will get there. Thanks.
Tom
Brian, I joined as premium member a month ago. I really enjoy your teaching. It’s perfect for where I am at as a reborn guitarist. You are amazing!
Bob
Brian, aren’t the root notes on the “E” strings (1&6) 2 octaves apart?
Thanks,
Walt
This is a fantastic lesson. I was fiddling with the guitar (so to speak), following the chord progressions of the circle of fifths lesson, then thought I’d see if you had a lesson targeted at connecting those chords with melody lines. On my search I rediscovered this lesson, which is doing some of that. I’m finding it so helpful to go back to early lessons that I already worked through at one point. I’m finding that on revisiting various lessons, I’m able to integrate elements that I only partially understood the importance of the first time through.
Brian,
I did reach out to Patrick and we got together to decide on a guitar for him to build for me.
The last time we spoke recently he was in the process of putting together the parts and components we agreed on to build that guitar.
Thanks for telling me about Patrick
Hi Brian, fantastic lesson. I am in touch with Patrick to build me a similar guitar. Can you tell me why you chose the p90 over a humbucker? Thanks.
I’m lost in the reservation… OK, I need more time , I guess
Thanks for reminding me of this. It brings memories of the old R&B, slow-dance tunes. I believe it’s a I VI IV V progression. Beautiful. A fella could write a song over this progression. I’ve been tasked to come up with a guitar solo for my small neighborhood group & I got enough ideas from this to come up with a working set of riffs. The song is, of all things, Tennessee Waltz in G major. WTH.
Brian I spent weekend playing ep 399. Beautiful. Lovely melody. Has given me loads of ideas to bring into solos. I Am 76. Love 50/60 s sounds.
Brian that is from me. BrendannMcArdle. Ireland. My son Sam gives me these lessons every year as a present. Rock on. Brendan
Learned lots – good lesson Brian. Cheers.
What a great lesson, went through it when it came out and re used again!!
You mentioned about the lower 3 stings as not being that useful and I agree! But what about the 2,3,4?
I have seen these used a number of times in conjunction with the high string 1,2,3. Your awesome! Thanks
Around time 19:30, Bryan is talking about the formula for playing over a minor chord being minor, minor, major. I’m a little in the weeds with the theory in this, especially for moving it around the neck like he does regarding playing the Emin around the 12th fret. Does that minor, minor, major formula relate to an order found in the Major or Minor scale? The relative minor of the key we’re in? I can’t find a pattern that pattern in a scale where its Gmin, Amin, Bmaj. Thank you for any help anyone can give.
nice lesson, fun going back and trying to play it again
Fantastic lessons. I’ve made a heap of progress with my playing after just a few weeks watching your videos. Great teaching. Thank you.