Description
In this week’s guitar lesson, you’ll learn how to use 1 shape (a minor triad) to play an entire lead over the chord changes.
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Really enjoy the triad lessons. Been going back and reviewing past ones.
This one is great! Would like to see more Western Swing and Rock-a -billy lessons. Like that you included explaining the C#minor and E6 relationship (and then sliding down to the E9). Lots of info to digest and play around with!
It’s a short lesson this week, but it’s still going to require some practice to get that faster tempo down. I like that visualization of the C#m triad out of the E major triad. Very cool. I’ve seen that lick off the 6 before, but forgot all about it, so this is a nice refresher on it. That move to the A7 (IV) is another really great minimal movement transition.
That full screen is a game changer. I can fit most lessons on one single page with no scrolling! I’ll put this in my current tutorial on the Soundslice player in Members Helping Members section on the forum.
Tip for finding the relative minor:
Find the major root note on the 5th string using your index finger, and reach down with your ring finger to the 6th string m3 note.
E >>> C#m, D >>> Bm, B >>> G#m, etc…
To find the relative major from minor:
Find the minor root on the 6th string using your ring finger, then reach up to the 5th string ascending major note 2 frets back.
Bm >>> D, Dm >>> F, Em >>> G
Why do it this way instead of counting down or up 3 frets? Because it’s easier to visualize a 2 fret move a tad bit easier than a 3 fret move. If you know where all your notes are on the fretboard, this method works all over the fretboard except for the 3rd and 2nd strings. But using just the 5th and 6th string works just fine.
This will be fun to play around with on the Strat.
Since next weekend is Halloween can I suggest a micro lesson on microtones in the style of Angine de Poitrine? 🎃
I suspect that would spook a few people. Doesn’t Khn use a specially constructed guitar though?
Brian in black and white spotty glasses?
Don’t we all have double neck microtone instruments lying around?
Apparently it’s possible to go microtonal using plastic zip ties. I’m just looking forward to the 12 quarter notes per string scale patterns….
Another very useful lesson. Great sounds from these triads. Yes, please do more of these with the 7th and any others that will add to making a more colorful progression. Thanks
Another good melody, Micro Lesson. Have to go play it and work it. The Tab is a nice helper to toss it into my memory bank. Thanks, Brian!
These are one of the patterns that sound really cool, when played fast and clean. So for me, start slow and perfect-and repeat-come back to it later, and repeat. Get the alternate picking smooth-in time, and the triad sparkling with the top E-string ringing with just right angle of the pick. If it takes awhile, it takes awhile-that’s okay-because when it’s clean and clear, that’s what makes it, sing. There’s gold in this Micro Lesson.
absolutely love this lesson. bravo.
Hi Brian, and every one.
Very cool lesson today (I always liked this topic : minor triads on top of major chords).
Do I understand correctly : when going from the B chord to the A, is the B9 already an A6?
The triad A C# F# contains the root, third, sixth of an A6. It also contains the minor 7th, major 9th and 5th of a B9.
So, the same triad (A C# F#) can be used in multiple contexts: an A6, a B9, a Dmaj7 (missing root) a F#m (first inversion).
Hope that helps.
I had exactly the same question Jerome, so am glad that you asked it! And thankyou for the detailed reply Rob!
So the progression could finish on the A6, maybe with an embellishment? But going to the A9 gives more variety…and further reinforces the 6 to 9 idea for us to practise?
Love this lesson…just need to practise building up the speed. 80% is my max !!
Yes Lesley, very glad it could have helped.
Have fun.
Short but so informative. Truly excellent.
Vers thanks
So much packed into 6 bars. That A7 move (bar 3) was one to try and ‘file away’.
Hi Rob.
I appreciated your comment and response to my question.
If it can help you, I suggest you go see the famous (at least for me, it’s one of my favourite old lessons!!) ep257 bar 17 and 18 for a really good example of that moove from E6 to A7 in that position : just too beautiful!!!!
Have a good week my friend.
gotta love that western swing sound and so simply introduced, thanks again!
A lot of meat on the bone Brian. Keep going with thees very useful lessons.
Love them
What a great lesson on chords and theory, all packed into a nice little musical example! Great stuff, and I’m loving the rockabilly/swing style pieces. Please keep doing more like it (both the roackabilly and the theory).
Brian,
Long time listener…First time caller (er, commenter). I am amazed on how you package basically the same concepts in so many creative ways. I also am amazed at your business model (that is a topic for another day) As for this lesson: I was in the wayback machine this week looking for Christmas Songs and found a 45 min vid of you doing Jingle Bell Rock. While you were in the “here is how you do it” mode with that video, it has the same concepts in it. I was sitting with Jingle Bell Rock, watching how you used the triads with the melody on top. This video drops and wham:
Inspiration move me brightly
Thank you so much for your dedication. I am a much better player because of you!
Best Regards, from Virginia.
Absolutely terrific lesson Bran – This one connects a lot of dots – well a lot of your lesson do but we can see the real versatility of this triad – TRIADS TRIADS TRIADS !!!! Thanks as always –
Love the lesson! Great that you reinforce these ideas! Thanks as always!
Hi Brian,
Your enthusiasm is amazing. I totally share it. These are incredible insights. Just great! You’re making this fascinating world on the guitar fretboard more and more accessible to me and to all of us. It’s truly one of a kind.
Love it,
Georg
Hey Brian,
Great lesson. I just added a rhythm guitar to the band and that allows me to play some of these minor triads as embellishments to the chord progressions. Very nice.
Best regards,
Dick (from Philly)
I’ve been a member for eleven years and this kind of lesson is why I stay on board with Brian. No one is going deep into useful techniques with Brian’s enthusiasm. I never skip ahead when Brian goes into the deets, right?? Brian, how about putting out a clip reel of your mistakes while putting the lessons together just for the membership? It could be entertaining to see you like the rest of us when we struggle at times.
Great lesson. So much potential with a few simple concepts.
Great ML! Perhaps a similar lesson using the other minor triad(s)?
Thank you Brian.