Active Melody

Learn to play blues guitar.

The Essential Triad Guitar Lesson – Using The Top 3 Strings Only – EP362

Description

In this week’s guitar lesson, you’ll learn how easy it is to play rhythm (and lead) by only concentrating on triads (simple 3 note chords). Everything in this lesson is played on the top 3 strings, making it easy to concentrate on learning (less variables). You’ll learn the major, minor, dominant 7, 6 and 9 chord voicings in 3 positions on the neck.

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Walk-Through Video

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Comments

    • simplydelboy says

      Brilliant addition to your recent lessons that have kept me going through lockdown in England. My understanding has increased by leaps and bounds over the last six weeks. I knew a lot of the theory, but now it’s in my fingers. I’m 73, and I’ll be gigging again when we’re finally allowed. Thankyou Brian.

  2. Ian M says

    I’m thrilled to see this lesson! This is something I figured out on my own a few years ago (inspired by many of your lessons) and it’s been THE most important thing I’ve learned (other than the basics) because it opens up so many doors! Feel free to discuss the triads on the three other contiguous string combinations, beginning with my personal favorite – the 4th, 3rd and 2nd. Thank you Brian.

    • Daniel O says

      Yes agreed. A really fantastic lesson. I like to have one of the couple of lessons I’m working on be developing my theory like this (with a great tune under it) and another one developing my physical chops. I’d also love to see the triads on the middle strings. I could figure them out I guess but having such a comprehensive lesson and inspiring backing tracks (as well as hearing Brians thoughts) would be much better. Cheers Brian & fellow members.

    • Michael Allen says

      There’s a lot of valuable information in the lesson and Triad charts which makes me feel that follow up lessons are necessary because for lack of a better way to describe my trying to understand it all, it’s like trying to drink from a fire hose. Maybe I’m making it more difficult than it is because I have notes from 20 years ago where I worked out inversions on the first four strings and never did anything with the information since. I’m hoping more instruction will clear things up for me

  6. Guillermo L says

    Hi Brian,

    this was exactly what made a big “bulb moment” in my brain. In this lesson I understood more in twenty minutes then in the past twenty years of playing.
    Thank you for keeping it simple and clear and also for the pdf files.
    You made a lot of outstanding good tutorials, but with this you nailed it. May other players that are probably at a higher level foregive me, but I would
    very much like to see more of such kind of lessons in the future. I dont want to learn the blues just by copying licks or playing scales up and down. I want to understand how it is made. Thank you for sharing your knowledge with us.

  9. Brent C says

    WOW?? Merry Christmas to “US”……!!! There’s several weeks worth of presents here (for me anyway) all rolled into one lesson. The triad tab’s plus the accompanying backing tracks in multiple keys. No idea how you do it Brian but thank-you so so much for making learning so achievable. This is gonna be FUN!!!!!

    • Michael B says

      😳 🤔 😃

      This is an incedible lesson and a real unlock of the fretboard! Seems like a change of paradigma…

      I can’t get enough of that and your way of tasteful teaching.

      So stay healthy and keep on going!

      Best wishes from Dortmund

      Michael B.

  12. Jim Dog says

    Brian,
    This lesson is HUGE. Fantastic to have all of this together in one lesson rather than picking up little pieces randomly. The PFDs are great for future reference. Please do a similar lesson for double stops. AM, Brian, is the best! Thank you.

  13. JohnStrat says

    Brian,
    This is a very useful lesson and looks to be most exciting as you say. I have just listened to the first part and realize that it I was able to preempt much of what you were about to say and so it switches on a searchlight power bulb in all ways. I had instinctively gained lots of scattered bits of this knowledge picked up in many of your other lessons. But here you have bundled it all into the one and made it clear.
    Lessons here don’t get any better. However if I say that next week you will surprise us all again with another switch on cast elsewhere!
    So congratulations the lesson subject and clarity is a musical gold mine. And you have created a perfect focus with all the aids.
    Thanks JohnStrat

  14. Kerry L says

    Hi Brian

    This is just another Great lesson . Most of my life I have played Rhythm Guitar, so I think in bar or full cord shapes most of the time. Recently I have started playing

    lead guitar with a band and it’s like a whole new world , this opens the whole neck up to move easily and quickly . I can only agree with everyone else, definitely more

    lessons like this.

    Kerry

  15. Phil G says

    YES! This lesson has lit up a lot of bulbs for me!
    SO, YES. To a 6ths and 3rds lesson! Using 1&2, 2&3, 1&3, and 2&4 would be awesome!! ALSO, a triads lesson that might include triads on strings 2, 3, and 4.
    One other thing to mention, I really like the jam tracks. I will download them, and import them into my DAW (Studio One) Once I have them in S1, I can change the tempo for practicing. Unfortunately, your definition of a “slow version” is still usually faster than I can play!

    Thanks for all you do Brian!!

  16. Raymond P says

    Thanks for another great lesson Brian. Your patient explanations are so eye opening and these triad diagrams are extremely helpful too. So many light bulbs lite up from this lesson I can’t say enough.

    Thanks again
    Ray P

  18. Bill9352 says

    I’m running out of superlatives! I keep thinking that you’ve produced the ultimate lesson yet you keep topping yourself. And this is EXACTLY where I am in my development.
    Thanks again Brian. This stuff is life changing!

  20. Jeff H says

    I was hanging out for this week’s lesson, kept checking, and I wasn’t disappointed. What a Great lesson, so much info, with a beautiful, gentle composition. You never cease to amaze us, and you get us all fired up every week Thanks Brian.

  21. erwin41 says

    This is what we really needed,excellent lesson.Thank you Brian for trying to make us good Guitar Player.The Idea for a lesson on harm.6th and 3rds would also be appreciated.
    greetings from Austria.Erwin

  22. Denise says

    Added to favourites!!! This lesson’s what I’ve been looking for soo long. Theory stuff that makes so much fun!
    I’ve been with AM now for 2 weeks and I am learning soo much more than with my former guitar teacher. No comparison. I like the way of your teaching, the videos, the slow w. t. and the tabs. I can’t ask for more!
    Thank you Brian
    Denise

  23. charleydelta says

    Great lesson, Brian. BTW, is that a 1950’s era Gibson ES -125 arch top electric that you’re playing in this lesson? I don’t recall seeing that one on any of your previous videos. Charley D.

  26. Will R says

    Excellent lesson, Brian!!! Thank you! It’s like a masters-level hack for learning guitarists. I feel like you just showed me how to do a magic trick on the guitar, especially when connecting the lead phrases to the chord shapes. I want to be able to see the fretboard the way you see it. Please add a lesson for the two string, harmonized 3rd/6th.

  27. James K says

    I have a stack of Hal Leonard guitar books at least a foot high. I have learned more from Brian and this excellent site than all of them put together. Thanks Brian.

    There is one guitar book that I would highly recommend to anyone wanting to learn more about triads. Its called “Triads for the Rock Guitarist” by Dave Celentano. It is an excellent book and resides in a place of honor-on top of the foot high stack. I refer back to it often.

  28. Laurel C says

    These specialty lessons with the focus on the subject matter (triads) not only unlock the fretboard but open up a new understanding to another level with the bonus being a great composition to play. Appreciate the clarity given on the content and the extra work to provide the resources that will add greatly to the recent EP356 triads on 2,3,4 strings. Yes please for a specialty lesson on harmonized 6th and 3rds.

  29. Matt Blues says

    Ok so The G6 at the 3,5,4 frets. If you take that shape and slide it to first position it is also a Dm. It is also a Em at the 3rd fret using the Dm shape? So would it be true that 6 chord can also function as a relative minor chord? Or am I over thinking it?

    • Phil G says

      At around 4:50 in part 1, he starts off wanting to show 3 voicing’s for an Em chord. Then, around 6:10 he starts explaining the reason for learning the minor chords, is because those are also the relative major chord’s 6 chord. So, I guess you’re right. That Dm chord shape can function as a 6 chord, or THAT chords, relative minor.

      But I’m looking at it a little different. Since I know I want to play a G6 chord, I’m seeing the root (G) at e3. Roots on the e string are either a G shape, or an E shape chord. So, starting with the E shape G chord, I derive the 6 chord by moving the B3 (5th) up 2 frets to the B5 (6th). Keep the G4 (3rd), and you have a 6 chord.

      For the stair step shape 6 chord, I see that as being derived form a D shape chord (the root on the B string), again by moving the 5th up 2 frets to a 6th, For the A shape 6 chord (root on the G string), you are again moving the 5th up 2 frets to a 6th,

      • Hugo Arend says

        NIce. Your reply has cleared some doubts I had. I still don’t understand why some are calle G9. I think I understand that the G6 is called that because it is the relative minor of G, so Em. What I don’t undersstand is why when we slided it a tone down it becomes a G9. a G9 should be an Am, not a Dm. I’d appreciate if you or anyone owuld clarify that for me. Cheers!

    • Jim K says

      Sure! Consider I-Major, ii-minor, iii minor, IV-Major, V-Dom 7th, VI-minor (relative minor of the Major chord), VII-half diminished. So when accompanying in any tune, use the Pentatonic minor scale of the key and improvise. I had to work at it a bit, but after using bends, pull offs etc., you’ll be amazed how good you’ll sound. To find the relative minor of any key, e.q. see the C on the 1st string, 8th fret and back up three frets to the A on the 5th fret 1st string, that’s your relative minor. Then using the 5 positions of the Pentatonic minor, you’re off to the races. Good Luck.
      Jim K

  32. Mark M says

    I spent 30 minutes playing with the major scale to help get familiar with finding the relative minor. It finally hit me that I can simply find the major scale root note on the A string and back up three frets to find the minor scale key. I’m sure that’s a well known method, but it was a eureka moment for me.

  33. Noshan G says

    What I did Brian was,I started compiling all the riffs and licks from the lessons I loved and I started playing in different scales.Very fast way to learn and memorise.Thank you so much.I would love to see follow up lesson on harmonic third or sixth and how to go about it.Namaste from Nepal.And really appreciate your hard work for make us understand what guitar is all about.

  34. Bernie G says

    Another great lesson. Yes I would be interested in a two string lesson and also another followup using the 4-3-2 string triands.. Light bulbs are going off all over the place for this old guy.

  38. Cory James says

    Brian – Thank you!!!! I’m really excited and inspired to learn this material and apply it. Hearing someone talk about 6 chords and 9 chords was the equivalent for me of listening to someone talking Algebra equations when I was 14 years old. … intimidating topic until you have a good teacher break it down in simple terms. (and I’m actually became pretty good at Algebra, so I’m hoping that this lesson and my ability to learn …..translates into my guitar playing / creativity getting a lot better!)

    Great lesson!
    Cory

  39. Greg B says

    Thanks so much, Brian! This is extremely useful. The one thing I add to this in my own mind is where the root in each triad is. First string, second string, third string. The root changes as you go up the neck. (all except the 7 voicings!) It seems so simple but this helps me retain and also informs single note playing. Rather than playing shapes, this lesson helps me understand and also changes note locations on the fretboard from rote memory to conceptual understanding.

    Brilliant lesson!

    Greg

  41. Ryan S says

    Hi Brian,

    I wouldn’t say this is the best lesson you’ve done, but it is something I have wanted to learn for years. If you can do more in this vein, I’m sure we will all appreciate it. Thanks for all your hard work, and I look forward to your next lesson.

    P.S. Haven’t seen that Byrdland in a while. Maybe you can do a lesson on it sometime.

    Ryan

  45. Roy B says

    Question… For the dominant 7 triads, there seems to be some variance in the intervals of the notes in the different positions. They all have the b7th, but the other 2 notes vary between root, major 3rd and perfect 5th notes. It seems that the b7th note provides the flavour as these triads are played over the major chord progression so the other notes of the triad can vary among the other notes of a dominant 7 chord; 1, 3, 5, b7. Are the notes included in each position, other than the b7, chosen for an easier grab of the triad?

    Luv this video, finally making headway with triads.

    • Phil G says

      That is a good question! However, if you look close, only the G7 in measure 16 is “different”. The C7 in measure 18 and the G7 in measure 24, are the standard D7 shape. The C7 in measure 22 is the standard A7 shape. That “different” G7 in measure 16 is explained starting around 3:06 in video 2. At around 3:25, he walks the G note at G12 down to the b7 at G10, then barres fret 10, and plays the 3rd at B12. He does admit it is “different” than he showed (in video 1) you would could play a 7th chord.

  48. Phil P says

    That really worked for me Brian; that is your simpler package idea on just three strings. I need to crawl, a lot. The premium video answered some confusing questions I had about fitting the 6, 9 and dom7 triads into the progression.

  50. richard p says

    Another incredible lesson. I always feel like I’m just spending time with Brian, and he’s teaching me exactly the way I need it. I want a cool sounding tune, and I want to understand how it works. I never get overwhelmed with these lessons because Brian picks the perfect amount of information, is always consistent with the terminology and is just a natural teacher. It’s such a pleasure to spend time with someone like that… even if it’s just through a video!

    Today I heard something interesting… I’ve gotten a few other clues before… “adding a new variable”. OK, that’s exactly how we engineers think and talk. I’m starting to wonder if Brian is an engineer, and good at math. Maybe that’s why I feel like he’s speaking directly to me.

    Finally, there is another youtube video that was a real eye opener to me. I’m always looking for that logical, simple way to understand guitar music theory. This youtube video showed how there are really only two chord shapes, and the 1,3,5 notes therefore only have two shape options. Check this out: https://www.youtube.com/watch?v=9n_G6TuIZ5c&list=PLiYP5lAo2Jmz6nGZiQNw8AbnM7LRaIPb9&index=2 (this is part of a whole series on chords… you might need the intro also)

  51. Pentti S says

    Brian. This was just great. Very informative, however not too difficult though.
    This is exactly what I wish to see, practical theory bits to take into use immediately.
    Thank you so much.

  53. Lyn C says

    Super helpful.. I never guessed that this would be so “easy”.. it’s still a lot of work to learn and practice all this stuff, but your explanation is great.
    Thanks Brian.

  56. Michael M says

    Hi Brian- You commented that if the interest was out there you would do a lesson on harmonized 3rds and 6ths (majors and minors). That indeed is something I would welcome a good lesson on. Hope you receive enough requests for this do put a dynamite lesson together explaining and demonstrating them…as well as a composition to play them in context.
    Many Thanks
    Michael

  57. Boppie says

    I was just noticing the guitar you are playing in this lesson. It looks similar to my 1957 Gibson ES 225 T which my dad bought for me in approximately 1959. Mine still looks like new and plays great. Thank you for all the great lessons.

  58. Laurence D says

    Sir, this lesson is just excellent. The light is still less than full brightness, but it’s coming on with your patient and clear instruction. And I’m still on the first part video. Really outstanding. Thank you.

  63. Michael T says

    Brian, I’m enjoying this lesson and the following lesson (363). In this lesson, the G9 that you play with one finger on the 10th fret has the notes D, A, and F. No G and no B I would normally see this a Dm chord, but we can call this “G9 without the root and without the 3rd.” Is that how you see it? That seems to open up a whole box of alternate chords. Thank you. I think your lessons are the best around, and you’re an exceptional teacher.

  64. Ted S says

    Bryan,
    I am a new member, and am primarily a Travis picker who has played in mostly the first position for years. These lessons are really helping me play up the neck, and I am now starting to develop little solo breaks for songs that I have been playing for years. I still use a thumb pick and nails, so when I learn your compositions, they sound more in my style, but to me, that is a good thing. Roy Bookbinder once told me that your left hand is for what you learn, and your right hand is who you are.
    Thanks for what you do.
    Ted

  65. Jim K says

    Good suggestions Brian. I’ve been playing those six string chords for quite awhile, but getting older, it’s challenging to stretch from the 5th fret to the 9th fret for those Major seventh chords. Thanks for the courses.
    Jim K

  66. Bill w says

    This is the lesson I have been looking for since I started trying to play. Every teacher want you to master “cowboy” chords and barred chords before you learn anything else. I have small hands and this compliments those playing full chords.

    thanks, Bill

  67. Chuck C says

    I have problems with learning your compositions because they’re not familiar to me. Teach us some songs that we have heard before. Classical Gas or Boogie Woogie or something that is familiar to us.

  68. Robert R says

    Agreed with evryone. Awesome good lesson. Love the tips and ur way of keeping it simple and digestable.
    I have a question. So far we ve been concentrating on the minor and major pentatonics. This lesson seems to be a different way of approaching solos. How do the patterns here relate to the major and minor pentatonic scales?
    Thanks.

  69. jseppi says

    Great information! thank you. My mind is trying to understand the concept of the 9 chord of the “G Family” can’t light the bulb of moving down 2 frets and getting the 9 chord. A little assistance please. i.e . 1G – 2Am – 3Bm – 4C – 5D – 6Em – 7F#dim – 8G? – 9Am?

  71. THOMAS M says

    Please Help me here/hear. I see the G6 triad would be notes A#, D, E,,, what would be a D minor chord pattern with index finger on the 1 string 6th fret. Were as the Em triad is G, B, E , a D minor pattern at the 3rd fret 1st string. But your separate diagrams show the G6 and Em triads both being played at the same location, with what appears to be the same notes …getting confused!

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