Description
In this week’s guitar lesson, we’ll revisit the K.I.S.S. acronym (Keep It Simple, Stupid). Sometimes the best way to approach a guitar solo is with simplicity.
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Thanks for the “simple” lesson!
Agree here. You have put so much material into the caged stuff over the last month including some challenging stuff – this one was relatively easy to learn and play and then go back and watch the lesson on how to integrate this stuff. Good mix of playing the key but hitting the changes as well and tying back into the theme of the last month. Great little licks in this one as well. Just sounds good, nice one this week.
The Dm pull-of intro sounds similiar to The Low Spark of High Heeled Boys piano intro
Excellent lesson, kind of reminds me of a chill Larry Carlton vibe. Keeping it simple makes good music to anyone’s ear. Thank you for all you do Brian.
Simple! Well yes it is while hiding plenty of complexity. This lesson reinforces the need for me to keep practicing arpeggios and triads so I can find them quickly. I just cant see how you come up with this kind of playing on the fly. Another brilliant lesson that still brings up fresh ideas to practice while getting enjoyment even after many years with AM. I find these lessons very enriching so thank you.
I absolutely agree! Thank you Brian.
exactly what Steven said! great lesson, i am trying my best to learn what i can from your lessons, thank you Brian
Nice sounding simple and sweet! I am going to dive all the way into the deep end on this.
Thanks Brian!
Simple but good Brian. It probably could have been a micro-lesson but I liked it at any rate.
Thank you I just love these type of lessons and you haven’t done one for awhile. I also love your longer more complex lead lessons because they are a significant challenge for me. However at my age I just can’t retain a lot of material at once and even a few licks that I can retain for awhile kind of disappear after a few weeks. However this type for lesson really works for me. Having some simple areas and tools to improvise with really helps me. Thanks again you are a wonderful teacher.
On measures 8 and 13, when we hang out on the E note over the Dm chord, does it make sense to think of this as effectively turning the sound of the Dm into a sus2? Whatever the theory (which I am trying to learn in a practical manner) I do love that sound – almost, but not quite, resolved.
Great lesson overall!
When Brian first played measure 13 I thought ‘oh he’s picking out the A min’ .
All those chords/triads – D min7, C, F maj7, Amin and D sus2 sound nice ‘vamping’ together over a Dmin.
Yes, you can think of it as a Sus2 as well – hadn’t thought of that
First I was thinking of a Dm9, because you are playing over a Dm chord a 5, b7, 9 (=2) and next an 11 (=4), in bars 7 and 8. I always print out the tab first and try to figure out wat your doing and then I look at your explanation in the video to check if I am on the right track. Frankly I like your explanation as a Fmaj7 chord better. And that solved bars 12 and 13 also, which puzzled me. So just another arpeggio of a Fmajor7. Brian thanks for this easy explanation.
This is messing with my head. The E note at the start of measure 8 makes me think Fmaj7 triad. 1-3-7. But that’s not in a F arpeggio……?
This is messing with my head. The E note at the start of measure 8 makes me think Fmaj7 triad. 1-3-7. But that’s not in a F arpeggio……?
Hi Brain,
Hope you’re doing great! I want to thank you for all of your hard work for all us And the inspiration you give us. I gave up playing the guitar at 21 years old. I started playing the guitar at 12 years old and I was a person that only played my music. I loved going into the studio and putting all the pieces together, but for some reason, I stopped and started working on my own business. Money ….life…. Money Now I’m 62 years old and my wife bought me a very nice guitar for Christmas five years ago
I think that’s when I found you on YouTube and signed up for your weekly classes. Anyways July 31, 2024. I sent my first song out to the world.
The song is called It’s Something About Us no words just music it’s on iTunes. Or type in my name. Mark J Sobczyk. It’s really go around the world.
Please give it a listen and let me know your thoughts. Or call me 909 289 0863
Great lesson Brian, sounds really good. Gives me lots of ideas. Thanks again.
Excellent lesson. Thanks Brian.
A couple of good take aways🤓🤓🤓
The rests are just as important as the notes. Do not rush. Good lesson Brian, thanks.
Good lesson., as (yes) I often overdo it and end up tripping over myself.
Hi Brian, well, after many years you finally done it….. I don’t know why but this lesson was the ‘light bulb’ moment. I just moved up a level in my playing. Thank you.
Really nice lesson Brian, Love it! We thank you for all you do here week after week..
Tony C.
Maybe…the aim of any solo in a song is to compliment the song not for the guitarist to get compliments.
The lessons on the CAGED system and the following are really excellent. Thanks Brian.
Normally it is G minor and not G major. But a 7 chord solves it.
The small rhythm tricks that keep the progression sounding interesting are as important a take away for me as the great lead ideas.
John
Utilizing the relative major scale over the minor chord is a huge takeaway for me.
Plus I love 2 chord vamps.
Also gives me another week to get down the previous lesson which has been tough
Another great lesson and terrific melody packed with great ideas. Thank you
Seems like a great lesson for ear training
This is my favorite style / type of lesson, of all the styles you teach Brian! It’s like a psychedelic guitar lesson. The speed of it allows me to work on the phrasing and when to be silent, something I really need. Once in a while you used to do a rock style lesson. I don’t think I’ve seen one in a while (could be just me getting old), but this is great! I know just about everything you teach can be used in all styles, but it’s nice to hear you write a specific composition with something “spacey” now and then! Thanks so much. I really enjoyed this!
One of my favorites as well. It’s as much about the silence in between as it is the notes themselves. Like reading poetry- the pause gives more emphases to the words
I can feel it Brian! I like it!
Great lesson Brian! The relative major scale over the minor chord was a great take away for me. I learn something from every lesson but this one I want to PLAY also. It feels like we’ve been leaning a bit more country recently, but this one really hits the spot for me.
Thanks Brian. Excellent
Very cool! Reminded me of “Ride Like the Wind” right off the bat. Tried it with Cmin7 and sounded just like it.
Larry
Good day all!
3 quick notes
1) I was talking about soloing with a very good musician at a jam. There were a number of players who get up on stage and blister through a bunch of scales, not interesting, BUT what was missing was style and taste, intrigue, the emotions that soloing should bring out in the audience. This lesson speaks to that.
2) When I do these lessons, I try to match what Brian is doing by ear first. So, the other day I was in a guitar shop, a kid was playing a finger picking pattern, I grabbed a guitar and my ear put my fingers in the “right places”! And that was a breakthrough for me.
3) In a jam, I watch the other guitarist(s) positioning on the fretboard. Did anyone ever notice how the proper method of writing tab is upside down?
PS most of the last 50 years I have been attempting to play, I have pulled strings to bend to notes and this definitely makes the vibrato easier.
Enjoy the music! Thx Wade
YES, YES and Hell yes,
I am your worst/best student. Your worst student because I still don’t know a note from an interval. Your best because I listen to a lesson, I like, 20-30 times before I begin to learn it. I love your timing, how you listen and your soulful rendition’s.
Thank you Brian for this, the blues lead by yourself and ML 068. These are in the formula that works for me. It’s how I teach T’ai Chi. Demo something, explain why you do what you do, then teach the structure and let them practice.
I get lost,easily, when you throw all the scales/chords theory at me. I can’t hear it and that’s what I need more than anything, to hear it. I can in your simple lessons, and like this one, and your slow songs.
Would you teach a lead using 4, 5, and 6. It’s something I have been experimenting with.
Hopefully you will continue to teach after you have been “discovered”. You play like everyone you mention, not just their music, but with your heart.
Thanks again,
Blues Bob
Hey Brain (Or anyone who can help!) When you discuss the F major being the dominant major of D minor, and you play that arpeggio. I’m a bit confused, as the notes you are playing dont seem to line up with the Major Arpeggio. Looking at EP557 (E Shaped Arpeggio).. But it does line up with the Minor Natural Scale for F.. what am I missing here?
Dear Scott, Brian is not playing a dominant chord (uses b7) but just a major chord (uses 7). So the Fmajor7 consists of a 1, 3, 5, 7
In bar 7 and 8, the 14, 13, and 12 are the notes 3, 5 and 7 from the Fmajor7 chord
In bar 12 and 13 the 6, 7 and 5 are the notes b3, 3 and 7 from the Fmajor7 chord (see b3 as a passing note to the 3). If I am correct i.m.h.o.
OK, that makes more sense, so when he says he’s playing the F major arpeggio , he’s really playing the F major 7 arpeggio?
Here this is true.
Brian,
I really love your Kiss lessens.
Do you have any lessons that teach how to figure out chords and create an interesting rhyme/ lead guitar part to play along with a song. I’ve learned your Amazing Grace bluesy song, but I struggle coming up with my own for an existing song. Fairest Lord Jesus in the key if D for example. I can pick out the song one note at a time no problem. But playing a chord, then a solo kick, another chord, another lick, it just never sounds good or the timing is off.
I hope I’ve explained this well enough for you to understand my dilemma.
Thanks,
Don
I’m learning Sultans of Swing at the moment (in Dm melodic minor) so that is where my mind went at start. Good lesson Brian – thanks.
Good stuff Brian. Definitely planted some ideas. KISS. Good advice. Slow and tasty is always better.
Hi Brian , incredible peice , I only would like some idea to finish it up , and a little help for the rythm sección.
Thanks for all your work .
Very nice, something at a pace I can keep up with. Riddled with arthritis and over 70, I struggle with some of your lessons playing along at 20 or 30% speed sometimes, and I am so grateful for that addition to the lessons, that was a blessing. Thank you Brian, great stuff.
Great lesson Brian. What a sound! Thanks
As a designer, I call these simple arrangements “elegant”. This is an elegant composition. I love it.
Another great lesson. But I would love to see a companion lesson to this, or some of your other more popular lessons, were we could continue to build upon a good soundtrack. Part 2 could be a buildup to cut lose a little more. You can call it “More is More!”
Great Vibe!!!
Great lesson—works with the spare style I’m drawn to. Thanks!
Love this one Brian, when I heard you with that Dm to C rhythm, took me way way back to an old Thin Lizzy tune called The sun goes down.
Check it out it’s great.
I love the lesson. The tune is absolutely beautiful!
Great Lesson. I like your explanation of how the major and relative minor chords are connected.
I’ll keep this short and simple. Thanx Brian, You ARE the best! Great lesson and advice! Love and Gratitude!
Sounds stunning, worthy of a great song. Lots of great caged changes but slowed down, also allows us to keep up.
One of my favorite styles, Brian. Sensitive, like good poetry, allowing the spaces in between give power to the beauty of the notes. The sign of a true artist.
A beautiful composition! Thank you, Brian
Great lesson. Shades of Mark Knopfler.
Yeh, reminded me a little of Dire Straits. Nice easy blues.
Excellent lesson Brian, learned a ton of new ideas. Thanks!
To bad you can’t show us the vibrato in the tab. Really been enjoying the hell out of the last 10 or so lessons. On a side note, I use to work out of La Vernge, TN. Wish I could have stopped by and seen you play someplace local.
at minute 12:44 – the stairsteps arpeggio- is an “a-minor ” arpeggio for me – am I wrong ?
Hello,
Why does the song go to G major when we are in the key of D Minor(or even relative major F)? Shouldn’t the chord go into the G Minor? Tks
Scratch, I see what you are doing. Using the b7 in G7 to get the minor tone of a G minor.