Active Melody

Learn to play blues guitar.

Try using triads in your lead. Simple technique for playing chord changes – Guitar Lesson – EP562

Description

In this week’s guitar lesson, you’ll learn how to use triads in your guitar lead for a more sophisticated lead sound. This is a super easy way of playing over the chord changes. Includes the tab for the rhythm part.

Part 1 - Free Guitar Lesson

Part 2 - For Premium Members

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Lead - Slow Waklthrough

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Rhythm - Slow Walkthrough

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Video Tablature Breakdown

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Comments

  2. Rob N says

    Hi Brian,

    I like that the rhythm track is tabbed out too, this is useful for getting a feel for the underlying backing. I always try to play the basic backing before working on a lead.

    You mentioned last week that you were thinking of doing a lesson specifically on timing and rhythm – I would appreciate this, especially swing or syncopated rhythm/time signatures (which feature in a lot of your tracks). I realise that there are plenty of resources online going into this, but I would like your take on it.

    In part 1 I found the B7 shape at 16.54 and the little fill following it were useful and definitely ones to remember.

    • Rob N says

      Regarding the Mixolydian mode you touch on in Part 2, you explain it well. The way I always remember it is as the fourth (chord or note) of that scale (whatever dominant seventh chord you are playing).

      So, if you are playing a B7, the fourth of the B major scale is E – so B mixolydian is the E major pattern (just change the root notes and away you go…). E mixolydian would be A, A mixolydian would be D…and so on.

        • Rob N says

          No.

          If you’re playing the Mixolydian mode of B: take the B major scale find the fourth of that scale, which is E and play that scale pattern i.e. the E major scale just with B as the root instead of E.

          The fifth of B major is F# . If you play the F# major scale pattern over a B chord you’re playing the B Lydian mode.

          Modes are quite simple to learn if you think of them in this way.

          Another way to think of modes is in terms of CAGED. The B major scale at fret 7 is the E shape. If you want to play Mixolydian just play the A shape.

          (You can do this with the other modes too. B Dorian at the 7th is the D shape scale pattern. Lydian is the C shape scale pattern.)

          • Rob N says

            Phyrgian and Locrian get a little harder (but I doubt they appear much on Active Melody) – for B Phyrgian at the 7th you take the C shape of Lydian and move it up 1 fret (works the same in all other positions) and for super weird Locrian just take the B major scale (Ionian mode) and move it up one fret – suddenly you’re a master of jazz eclecticism!

        • Rob N says

          I think you’re getting confused because B is the fifth (note/chord) of the E major scale and the song is in the key of E. Think of it this way: if you wanted to play some mixolydian fills over the A chord in the song – forget what key the song is in, just take the A major scale and find the fourth note of that scale which would be D. Take the D major scale and play it over an A chord and you’re playing A mixolydian.

          • Rob N says

            Apologies to all – I will take one last stab at this and then shut up! I should have just wrote ‘great stuff’ and left it at that…

            Modes get confusing because they’re so many different ways to approach them (as with everything on the guitar). So, assuming the player knows the major scale patterns across the fretboard here’s 5 ways to approach the Mixolydian mode:

            1. Learn the Mixolydian scale patterns all over the fretboard. Arguably, the ‘correct’ way, but labour intensive. Easier option..just learn it gradually in sections. Mixolydian isn’t too hard to pick up because it’s so similar to the major, but this approach gets harder when you tackle other modes.

            2. Play the major scale but flatten the 7th note. Good at explaining mixolydian to beginners especially why it works so well over a dominant 7th chord. Again this works less well when you get to other modes.

            3. Take the major scale find the fourth and play the major scale of that fourth note i.e. 4th of B major is E…play E major pattern (just remember the B is now the root not the E). This was the shortcut I was explaining.

            4. Ask yourself ‘what is X the fifth of?’ i.e. ‘What is B the 5th of?’ B is the 5th of the E major scale as I now realise Kevin was probably suggesting. Play the E major scale as above to get B mixolydian.

            5. Think of scale patterns in terms of CAGED. The major scale (or Ionian mode) is always 2 ‘letters’ ahead of the mixolydian scale/mode. Playing an E shape pattern for the B major = play a A shape pattern for mixolydian. (C = E; G = C; D=G; A=E). Brian’s course on CAGED covers this approach as well as approach 1.

            If I’ve got any of that wrong….please be gentle with me. If you made it through all that…give yourself a chocolate egg as reward.

        • Michael L says

          Hi Kevin, you are correct that Mixolydian mode is built off the 5th chord in a scale. So in the key of E, if you play the E major scale starting on the B (5th) note, you will play the B Mixolydian scale (same notes as E major). This is from the perspective of the E major scale.

          Robert is looking at it from the perspective of the B7 chord. A 4th above B is E. That’s another way to relate B Mixolydian to the E major scale. Kind of the “other side of the mirror”. When you’re on a dominant chord, you can ask “What is this the 5 of?” or you can ask “What is a 4th above this?” Both questions get you to the same place.

          In the case of this lesson, we’re in the key of E, so I don’t think about Mixolydian at all really. I just stick with the E major scale, and when we get to the B7 chord it’s already right. When a song brings in a dominant chord from outside the key, that is, not the 5th chord, that’s when finding the chords Mixolydian scale can be useful.

          • Rob N says

            Hi Michael, thanks for clarifying. Yes, I initially got caught out as I misunderstood which ‘perspective’ Kevin was coming at it from. I think, for beginners, it is more intuitive to think ‘what is the fourth note in the scale of this chord’ e.g. B7, than ‘what is B the fifth of?’, but both approaches work.

            I detailed 5 approaches to Mixolydian above, but there are other ways to approach modes…the modal circle of fifths, for example. I was really just trying to help beginners but I fear I may have overcomplicated things…(plus, I did promise to shut up on this topic!)

      • Maynard M says

        Maynard just joined your great site and I just have to say you are unbelievable you are so great in your playing and teaching I am glad I found this site. I am 70 years old now and had my own band for many years untill we all got tired of being on the road. I barely picked up any of my guitars in the last 10 years and I can not believe how much new material is out there now. Being retired I have lots of hobbies but always wanted to get back to playing guitar again. We did mostly country music 50’s songs and such but I just want to thanks you for being such a Fantastic guitar player and teacher. maybe I can get back into it again. Thankyou

  3. Anthony (Tony ) W says

    WOW BRIAN . GREAT LESSON ON EVERY LEVEL. TECHNICAL POLISHED LOVELY MUSIC – BROKEN DOWN IN SUTCH AN UNDERSTANABLE WAY. .PLAYED ON YOUR SWEET SOUNDING MARTIN. GREAT JUST TO LISTEN TO. WITHIN THE ABILITY OF MEDIUM LEVEL STUDENTS. THANK YOU , BRIAN

  5. San Luis Rey says

    Thanks Brian! You have a knack of keeping all this interesting. From electric blues to acoustic using triads and following the changes. All that following a great caged series that was not only theory but had some nice songs to go with each one. It’s a small wonder that so many people have stayed on this journey with you!

  6. Dave T says

    Hi brian. I would like to post a comment about past lessons. While EP 556 through EP 560 are beyond exceptional lessons I was still having trouble putting neighborhoods together up and down the neck until I combined them with ep 552 and used the key from that lesson. Omg, not only did the neighborhoods unlock but all the lights came on and the doors flew open. Thank you Brian for such a amazing lessons. I so wish I would have had these 50 years ago. It would be a whole different guitar world for me today. All I can say is thank you, thank you, thank you. And now I’m going to the bar! Lol

  10. Torquil O says

    The little dances my fingers have learned are coming together with the progressions and movement between the caged positions. Leaving the memorization of notes and heading towards improv! Very cool; thanks🙏

  16. Mike R says

    I always like your triad lessons a lot. It does open up a lot of possibilities and teaches me a how to play familiar sounds I’ve heard before. Love the way your showing us how to connect from one form of a chord to another and the single note runs really add a lot of flavor to the whole piece. Always amazed how you keep coming up with great ideas for all of us. Thanks!

  17. James S says

    I am so ready to expand my triad practice. Thank you so much for this lesson Brian it’s perfect timing for me and it should make my wife happy cause I won’t sound to bluegrass for a change!

    James A

  19. Leo Y says

    Thank you, Brian, for guiding us on our guitar improvisation journey. Also, could you please share the headphone model you’re using during the lesson? Thanks once more!

  21. Daniel H says

    Oh Brian! … 561 and 562 are taking your 5 lesson CAGED course and bringing it home, and drilling it in! I hear the excitement in your voice and I am feeling it because I finally feel like I can really express myself on the guitar more than just strumming chords and playing scales. Bravo! I like this logically building sequence of lessons.
    BUT … I don’t understand the function of the little box on the screen showing a small version of the big screen. What is its purpose? For me it is distracting.
    Nevertheless, a great lesson. Thank you!

  22. Dave S says

    I got a good couple of takeaways in lesson one, lesson two will be something to aspire too. Thanks to some of your earlier Bluegrass lessons , those lessons changed the path of my focus of learning, I never heard of Doc and Tony before you mentioned it. I think Church Street Blues done by Tony Rice has become favorite song. I’d love to see some more lessons like this and others that relate to acoustic Bluegrass, open string concepts and building off the triads. Thank you so much for all you do and opening the world Bluegrass to me.

  25. Steve says

    Each week when I watch your videos I am just amazed at your talent as a musician, your creativity as a composer and your clarity as a teacher.

    Thank you so much for all that you have given to so many people who, I am sure, are better musicians because of your dedication to passing along the gift you were given!

  28. David W says

    Brian, not only are you an exceptional teacher, which everyone knows already but man what a beautiful composition you put together!
    It does inspire me to practice and keep on track on my guitar learning journey.
    It really hit me with this lesson how many great tunes you’ve put together, I’ve even though of adding lyrics to some.
    Keep the hits coming!

  35. Marcel v says

    Thanks Brian, again a great lesson in witch you combine relatively simple building blocks to something beautifull in a very creative way! I know my chords and scales but I can only admire the way you make combinations that sound so great.

  36. houliAK says

    For some reason I never really connected with a use for the G shape triad. Your example at 6 min. part 1 of the e string walk down (from B note) to the (C Shape) E chord was a good example. I need to go back and review that lesson you recommended.

    I really loved the B7 triad explanation at 14:26 min. (Using the D shape fingering on strings 2,3,4). I had used that shape before but it never occurred to me it was simply the notes inside a B7 bar chord. Something so simple and obvious I had never made the connection but it opens up the fret board for some new ideas. Thanks!

  37. Max H says

    Hi Brian, I have been really enjoying all your lessons, they are all so very good! I really just love this particular lesson. I have been playing for many years and it’s so cool to see something so straight forward and yet I somehow missed it all these years. I’ve always noticed in the past how a guitar part that sounded really good was just played out of a triad. That always amazed me because I would be searching for something really complex. Thanks for helping to further connect more dots! Awesome lesson.

  38. Joe N says

    Hi Brian
    Very cool. Very interesting and very well explained. Love the continued reference to the CAGED sytem and the series that you posted the last number of weeks. Bravo.

  39. Brian S says

    Hi Brian
    I love all of the lessons. Thank you.
    I wonder if there is any guidance you could give for my situation?
    I play in a church group comprising keyboard, bass, drums, clarinet and flute plus me on electric guitar. (plus a singer)
    As you can imagine, the melody is mostly taken by clarinet and flute so I struggle to play anything other than chords.
    The music we play isn’t gospel but a selection from people like Graham Kendrick, Stuart Townend, Keith and Krystyn Getty plus some traditional hymns.
    I love the lessons on triads but can’t seem to relate them to what we play.
    Any thoughts would be appreciated.
    Brian

  40. T-Bish says

    I’ve watched this lesson countless times since its release. There are so many many good take aways, hidden gems throughout the lesson that build on your container concept and GAGED system series (e.g., I think I’ll always connect the A chord shape with the A mixolydian scale pattern/ D major scale shape pattern – that type of connection really sticks and helps). What helps the most is your thought process as you connect the notes between chord shapes and to understand why you did what you did. Rather than just do what you’re saying, I need to step back and determine if I really understand what you’re saying.

  44. T-Bish says

    Playing the one chord mixolydian scale and targeting the notes or two notes in the scale that represent the five chord to transition to the five chord is another great example of the art of creating music. Too cool. You have this long, fast run that transitions nicely to the next chord.

  46. David S says

    Brian I really have enjoyed this lesson like so many others,your lessons give me alot of ideas to try,this lesson here using the B7 in measure7 Iam using that idea in other tunes,thanks Brian.Dave ES.

  48. Peter B says

    I’ve come to this one late after searching for lessons on Triads. What a brilliant lesson although it fails the trades descriptions act as the second half departs from the score! I have thoroughly enjoyed this lesson and learnt a lot. I’m just about able now to ply it through from start to finish albeit only at 75% speeds. At 79 and with arthritis in my hands my fingers just do not move like the used to. Keep it up Brian. I now have a list of over 50 of your lessons that I practice/play on a fairly regular basis. I am also taking your advice and improvising a round a lot of them.

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