Active Melody

Learn to play blues guitar.

Beautiful guitar harmonies using just 2 strings. Easy to visualize! Guitar Lesson – EP601

Description

In this week’s guitar lesson, you’ll learn how to play harmonies when you improvise by visualizing chord shapes. These are all played on the 2nd and 4th strings.

Part 1 - Free Guitar Lesson

Part 2 - For Premium Members

Only available to premium members.
Register for premium access

Slow Walkthrough

Only available to premium members.
Register for premium access

Video Tablature Breakdown

Only available to premium members.
Register for premium access
Curious about the benefits of
Premium Membership?
Try it for FREE!
arrow_downYou need to be logged in as a premium member to access the tab, MP3 jam tracks, and other assets. Learn More

Add to "My Favorites"

You need to login or register to bookmark/favorite this content.

Comments

    • Paul G says

      This “leave a comment” request…. Love to , but where on earth do I do that? I can “reply” to others here, but I’m not finding a place to leave original comment for Brian….?

  5. Charles Q says

    Another great lesson,AS someonde who has arthritis in my wrists and fingers i find it extremley helpful the way you exploain how to use thge chord shapes and get around using full bar chords, hope you had a nice holiday

    • Robert Burlin says

      I just finished part one and this is really working for me. I am seeing and remembering how and why this works. I love it. Maybe do a slow and easy mini series that takes this to the next level. I can see myself writing my own song using these concepts.

  8. Mike R says

    I like the harmonies a lot. It opens the door to adding other notes to connect each of these shapes. Give you a laid back way of playing along with others. Simple is always better and it’s the simple things that expand my thinking of both the chord shapes and their components. Hope you had a great Holiday with your family and friends.

    • Jeff M says

      I agree! While I thoroughly enjoy the more intricate lessons, this one is helping me to really learn just one thing and apply it. Brian – I vote for having some of these concentrated lessons sprinkled in…

  11. Stev G says

    Hey Brian! Over the holidays I’ve had much fun leaning into some harder and quicker ones like EP555 and EP161 as well as a couple great acoustic ones. Coming off those, my first thought was this is way too easy. But I’ve been fooled by that before, and besides, great guitar playing isn’t about everything being hard to play. While it may be less challenging than others I’ve been working on, I see overlap with some of the same harmonies I just worked on in other lessons, but now explained in a different way. So this helps give me a new and deeper perspective on how these harmonies relate to the chords in different contexts. There are always nuggets of wisdom in these lessons that help further develop and cement things learned in previous lessons. You have a broad audience and I can understand the balancing act. You do a great job of blending easier and more difficult material, and every lesson is more than worthwhile for us to invest our time on.

  15. Raymond U says

    Great lesson, I was already aware of playing thirds but as usual you’ve taken that to another level. Also I love the resonator playing in the backing track. Are you using a similar technique.with that?

  18. Daniel H says

    Nice lesson. BTW, moving forward … your new idea of subbing a Micro Lesson for a “regular lesson” is brilliant. Often times, less is more. Trying to drink from a fire hose can leave your thirsty while sipping from a fountain satiates your thirst!

  19. Michael T says

    Brian, This seems like a very useful lesson. Thank you for putting it together.
    Maybe I’m missing something obvious. Those two notes you hit on the 5th fret…G and E? They sound good, they’re the 4 and the 2 in the key of D, and I see they’re between the A-shape D chord, and the C-shape D chord, but I’m struggling to understand how they “represent your D chord.” Side note: I see they’re also useful in that classic turnaround from the A-shape to the C-shape triads.

    • jgreen says

      Michael – was thinking about this question too. How do the E (2) and G (4) represent the D chord when they are neither a root, 3rd or 5th? Wondering if this is the way to think about it.

      Instead of trying to think of them representing the D chord, thinking of them in context of representing the D major scale. They are both notes from the D major scale and together make up a harmonic 6th withthin the D major scale. Ttherefore, will sound good when played against a D major chord. And conveniently sitting between the A shape and C shape…it will sound good moving between them.

      • Rex L says

        Really like this lesson too, but you lost me at the beginning with the A shape D chord and then moving it to what I see as an A shape C chord. Could you please explain how this is a representation of a D chord and not a C chord? Thanks!

      • bwade913 says

        I was struggling with this too, and asked ChatGPT how the E and G represent a D chord. What it said was that they represent a D7 chord.

        “E is the 9th (or 2nd) note relative to D in the scale.”
        “G is the minor third relative to E, but in the context of the D7 chord, G represents the minor seventh (C to G is a third in this harmony).”

        “When the instructor moves to a barre at the 5th fret and uses just the 2nd and 4th strings, they are simplifying the harmony. The combination of E and G suggests the presence of a D7 chord without explicitly stating it in full. These two notes imply the tension and color of a dominant 7th harmony, which often resolves back to a G chord in a progression.”

    • Mr. Larry P says

      What he is doing here are called 6ths so it confused me too. The D scale is D E F# G A B C#. So G is six notes from E. G, A, B, C#, D, E counting G as 1. He kind of skipped over it because explaining 6ths didn’t really fit into this lesson…at least I think that’s what he did. So G to E doesn’t fit with what the caged system would actually do (he’s did not explain that) since the A shape D comes at the 7th fret and by playing strings 2 and 4 he really is doing 6ths from the chord shape. So D at the 7th fret A shape you have A and F# because F# is six notes away from A…(A B C# D E F#) it’s in 6ths.

      I hope this helps and is not too confusing. I’ve studied 3rds and 6ths recently and it took me a long time to get this into my head but I think I have it now.

    • Michael L says

      My take: The G and E on the fifth fret imply an A7 chord, which is the dominant chord resolving to D (That’s the 5th (E) and flat7 (G) of the A7).
      So, the implied harmonic sequence is D, A7, D, or I V I. That works fine over the D in the backing track because we’re in the key of D and all the notes are in that key. It adds some tension over the D which leads the ear to the final resolution. After watching a few years of Brian’s lessons I notice he tends to say “represents” as a loose way of saying “this is played over/fits over”. It doesn’t necessarily mean it’s a direct part of the chord of the moment. Hope this is helpful.

  21. Stacey says

    Brian, Thanks for breaking down a simple but important concept of using two strings to represent major and minor chord shapes across the fretboard and correlating with root note and related intervals. Seems like this is the core information needed to make music and everything else stems from this. It really helped me to focus exclusively on these things in one lesson. It sometimes is overwhelming to my brain to mix scales and more complex lead lines with basic chord instruction.

  22. Jim E says

    Thanks, Brian. Happy New Year! For me, this was a good level of complexity and focus. Also, I really appreciate the fretboard diagrams; that helps me a lot. Finally, you have a ton (600+) of prior lessons. linking new lessons back to those, like you did, will also help folks piece things together.

  23. Pierre B says

    EP 601’s focus on finding two-note harmonies all over the fretboard is very interesting. Although the material is familiar, it’s never too easy. We always pick-up something new. In my case, the minor chord harmony was one of the A-Ha moments in this lesson. The other was the D harmony (using the C shape) into the G harmony (using the E shape). Clever! Happy New Year Brian.

  24. Santiago P says

    So nice, so easy and so tasteful! I could not help but drop-tune my sixth string to D and then add some bass notes here and there for a simple Ry Cooder vibe.
    Happy new 2025 to Brian and all the community!

  25. C.J. G says

    I always look forward to the AM harmony lessons. While there is some overlap with previous lessons, I still picked up a bunch of new ideas… especially the embellishments associated with the basic 2 note shapes. I also loved that you touched on harmony parts over a minor chord. I don’t recall seeing minor harmony parts addressed in previous lessons and would love to explore this in more depth. Are there any other AM lessons that do deep dive on the minor harmony parts? And/or would you consider doing a lesson focused on minor harmony parts (maybe a micro lesson)?

  27. Debra Amesqua says

    so, I’m thinking of the Key of D. The shapes are A,E and C. The Chords are D-1, G-4, A-5, and Bm-6. How do I find the areas on the fretboard for the Key of D. Then How do I find the 1,4,5, and 6 chords for that location using one of the shapes? I totally love this new lesson concept, as I find the material easier to digest in smaller portions. Thank you Brian

  30. Michael H says

    Hi Brian As I first listened to the lesson in my head I was OK we’ve seen this before but the narrower focus on just the second and fourth string worked really great for me to reinforce what I already know but not necessarily using. Now I take the same template and apply to different keys E A and G (the big ones for me) Then this becomes really good practice.
    Further to your “Part Two” idea how bout same track but first and third string.

    • Alan V says

      The idea of focusing on just one concept is magic. Alternating with a more complex lesson for more advanced players seems ideal. As you say you can’t please everyone all the time, but the vast majority understand that.

  34. Kevin S says

    Welcome back, Brian. Hope you had a wonderful holiday. Really nice lesson, been trying to get my head around playing with harmonized melodies, this helps. I’m the guy who complained when you rolled out a new visual aid a few months ago, I was having sight issues with it. I love the new one you’ve introduced in this lesson, think you have found a winner. Thanks

  35. wforrest2 says

    Brian

    Nice lesson. I found myself using the string bend you previously taught when using he C shape versions of the chords (bends are on strings 1 and 2) when improsing. Seemed to work well. Also being that B minor is relative minor of D the shapes will work there.

  44. Bob B says

    Hi Brian,

    I found it confusing in video no. 2 when you demonstrated the minor harmony using D minor but the lesson has B minor. Took me time to figure it out. Nevertheless, it’s a great lesson

    Bob.

  47. John I says

    Weaving a caged shape lesson into a piece made of two string harmonies. And there is so much you can do with these once the shapes are second nature. Bravo. Thanks for driving this home again!

  48. Daniel P says

    This lesson was great. When I first heard harmonies on strings 2 and 4, I immediately thought harmonized sixths based on another one of your lessons. It was more difficult for me to remember than the harmonized sixths on strings 1 and 3. Now that you tied it all back to the chord shapes n detail, it is much easier to understand and remember.

  49. Harold V says

    Great Lesson. I love when you break down each of the chords and relate it to the CAGED System. I have been playing for only six years and each time I watch and practice lessons where you focus on triads, harmonies has really helped me understand the how to better get around the fret-board and use pieces of chords to develop leads. Most importantly I feel more confident each time I practice and play on stage. Thank you for all you have done for me.

  50. Mark M says

    I’m frustrated with playing b/c I’m getting a form of MS and cannot control my fingers (having played professionally years ago). Your harmonized lessons give me such hope! I’m really starting again! (Just not full chords)…. thanks BRIAN!

  51. Kenneth p says

    Great lesson Brian, I have 2 questions – 1) I see that if you play the pattern of G# on the 4th sting and E on the second string , as an example, you can be playing in the key of either A or E, and it may be the same for other keys, I only checked A and E, so I assume it depends on the underlying key, hope this makes sense. 2) If you play these patterns up the neck, key of A, starting on A as your 1 and F# as the 6 and continue through the 7 note Major Scale, B to G# etc. you end up with a matching pattern of F# and D on frets 4 and 3 and G# and E on frets 6 and 5, probably the way the neck is laid out, however it confuses me, once again I hope it makes sense.

      • Kenneth p says

        I know it is confusing and I am having a hard time explaining, and maybe I am totally off base. In your video you lay out the pattern on harmonizing in 6ths for a D chord, using the caged A shape notes A-7th fret 4th string and F#-7th fret 2nd string–then G-5th fret 4th string and E- 5th fret 2nd string–F# 4th fret 4th string and D 3rd fret 2nd string–playing those same notes same pattern is also harmonizing a G cord I think?

  53. Rick C says

    Shell voicings on strings 2 & 3? In 3/4 time? Who knew this could be so nice. Wow. The counting is half the learning.
    The partial chords and the background chord create enjoyable tonalities.

    You mentioned scaling up Micro Lessons. How about “5 ways into the 4″… or “trick ways thru a turnaround”….

  58. Danny S says

    Brian,
    Great lesson, I liked that you tied the cord shapes together with the harmonies. For me, this is a game changing lesson. Thank you! Additionally – congratulations on your 600th, now 601st lesson!

  59. Thomas G says

    Regarding the slide in the jam track: it gave me the idea to try my slide, playing on the harmonies you’re focused on, Brian. Sounds awesome! A lot prettier than my usual Tampa Red-ish noise. And I actually know what notes I’m playing. Thanks for another super lesson.

  61. James M says

    This was such an important lesson for me, thanks. A question: With the A shape, you mentioned the root is not included in some of the harmonies. How do the two notes in the harmony represent the chord being highlighted? Thanks in advance, Jim.

  62. Michael D says

    Love this. Its fairly simple but what it exposes as far as chord shapes and possibilities is crazy. Who ever thought D G and A could be so much fun. Lost about 90 minutes of time just playing around with this. So cool…

  63. Bruce G says

    Great lesson! Happen to also be working on “Never Going Back Again” by Lindsey Buckingham/Fleetwood Mac.

    Low and behold the primary riff in that song uses the three third positions (two from the A shape and one from the C shape). Very cool!

    Thanks Brian…love the changes you are making!

  64. Don V says

    Really liked this lesson …..provides so much info to apply all over the fret board. Great for these long Alaskan nights. Appreciate all that you do to help us guitar players advance our skills.

  68. Timothy M says

    Happy 600th!

    I always learn so much from your lessons. This lesson was exceptionally good. It tied so many things together for me. Keep up the great work! We all really appreciate what you do for us!

  69. Steve S says

    I love love love this one. I have been wanted to play songs like Cocaine and all with that Coulter Wall sound. Man I had not clue it was this easy. LOVE LOVE LOVE THIS Brian. Well done……love it. FUN FUN FUN

  71. Torquil O says

    Good lesson for me. I need to work on “hearing” the chord changes as I navigate with harmonies and shapes. These slower lessons help me listen to the changes as I select the shape/harmony/scale I want to use; btw/ I agree with the comment that this has a Ry Cooder vibe. All things RC are great!
    Happy New Year!

  72. eames28 says

    I have been identifying all of your lessons that have double stops. I am fairly new to theory and I was learning the double s patterns > major, minor, minor,,,,,, and thought that each of these double stops were part of the key ( not the scale of the key, as I never heard the letter keys assigned to each step) you were working on. I did not realize that it was, for example Amajor, b minor, c minor , d major etc. Now this lesson seems to be what I thought I was doing – all the double stop ways of playing D. Please let me know if this is right, as I am totally confused now . Thanks, Rob

  77. Tom T says

    This was a nice focus on harmonics, and it was great to be able to play it competently without slogging through a few bars at a time for a week! So easier than most of the usual fare, but it is really nice to book a win quickly. Helps the old confidence!

  78. Bruce D says

    Hi Brian,
    Just a quick note to say this is one of the BEST lessons on the site for me. Thanks for putting these concepts together. I could hear these intervals but never quite knew how they are played.
    It really brings the fretboard alive, and it’s tons of fun to play around with.
    Great job!

  79. Kenneth S says

    Loved this lesson! Was able to visualize the shapes easily. I took it to the next level by incorporating same concepts while moving to strings 1 & 3 which enables less up and down neck movement. Maybe augment this lesson with a micro showing how to do that.

  81. Alana S says

    Great lesson, Brian! I appreciate your explanations and the simplicity of this lesson. Lessons like these help me make more beautiful music. I’m very grateful to you for making these lessons.

Leave a Reply

Recent Lessons

Contact

For all support questions email: support@activemelody.com
For all other inquires email: brian@activemelody.com