Active Melody

Learn to play blues guitar.

Triad Blues – How to use triads in your blues guitar lead (also how to work in diminished) – EP432

Description

In this week’s guitar tutorial, you’ll learn how to play a standalone composition that plays through the chord changes using only the top 3 strings. Includes how to incorporate diminished chords.

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

  4. Raymond P says

    Hi Brian,
    There’s not print option for the notation sheet music. I checked the previous lesson and the print option is still there but not on this lesson. I always like to print out the sheet music so I can read the notation as well as the tab info. Can you fix this?

    Thanks
    Ray P

  5. Tim W says

    Hey Brian, personally I think this format change is a massive improvement 🙂
    I often find myself replaying lessons after I’ve got them under my fingers so that I can pull out all of the logic (I tend to forget this stuff). With the old lessons I have to hunt through to find the useful info in amongst all the stuff around playing fret X on string Y (which is just on the tab anyways). This way is much better!

  7. Guillermo L says

    Hi Brian,
    great two blues lessons this week, was waiting long time for something like this.
    Just in case that you are interested in a little feedback : For me its very helpful that you repeat information you already mentioned in other lessons with a new example, makes me have this “click” moment of finally understanding the correlation (F#m / A6). A clever didactic move from your side.
    Yes, and if I would have a free wish, I would ask you very much for a “play in style” lesson of Lonnie Johnson 🙂

  10. Phil B says

    I like the new format. It’s also very useful to me that you take opportunities to reinforce ideas that you have mentioned in previous lessons; e.g. going from the IV chord to the I chord via the sharp diminished. It reminds me to re-visit those lessons so that I can try to embed the concept into my playing. Love the shorts that ou are posting up on YouTube – phew! It’s hard keeping up with all your output. It’s a good job that I’m retired and have the time!

  13. Gordon C says

    Hi Brian. At the beginning of part 2 you mention that you have forgone the “index finger 5th fret second string” detailed descriptions. Well don’t worry about it. Your use of the scrolling tab covers that aspect nicely. Also thanks for including the # diminished chord. I have a better understanding of how to form it and where to use it.

    • David K says

      Hi Brian, any chance of putting even just maybe simple backing track on more of these type solo lessons. To me they perhaps best thing about signing up with site. As you know as bedroom-lockdown learners playing to beat the key thing we can struggle with. Also playing with even simple backing track is great fun.

      Thanks David

  16. KEVIN F says

    I particularly liked the nugget about raising the 1 note on the 3rd string of the A shaped D chord to make the diminished.. such a good way to anchor to that triad.

    I think it’s about time for another uptempo jazz blues swing lesson Brian!

  21. Phil G says

    Brian, am I the only one confused? at 10:00 in the second video, you play the 4# diminished, which I see. The 1(C# on the G string), b3, b5. Then you slide that down 1 fret and call it the 5 diminished. That I don’t see! If you are playing a 4#(anything) chord and slide it down 1 fret, you’re playing the 4(anything) chord. Right? OR am I reading the notes wrong? (i.e. NOT 1, b3, b5).

    OK!!! I finally see it! BUT, I had to start with the E# dim. at the 10h fret and move it down 3 frets. THEN, I realized the E# is on the B string, the bb7 is on the G string, and b3 on the e string. Then I played an E#7 (C/D shape) on the 8th fret, and realized you move the b7 (on the G string) down 1 fret, along with the 3rd on the e string. WHEW!! A LOT of “looking” to finally “see” it!

  22. Alan K says

    Nice to get another triad lesson Brian. The new format is good as long as you explain how to play any challenging licks (not relevant on this lesson) in the future. Quick question. What is the theory behind moving up or down 3 frets on the diminished triad?

    • Andy N says

      Hi Alan, Its a bit easier to think of it in terms of an entire diminished chord rather than just a 3 note triad. The entire chord has 4 notes in it, at spaceings of a minor third. If you slide the entire chord up 3 frets and looking at the notes your playing in the new position you’ll find the notes are the same although the strings they’re on has changed. Ie If you move the chord up (or down) 3 frets you end up playing an inversion of the same chord. Its more a coincidence of the layout of notes on the fretboard than theory.

  26. Dan S says

    Yes to the trial format . You’ll never please everyone, but after many years of playing I find your relation to chord patterns especially useful rather than just saying where your finger goes. I too have found myself relating back to old lessons when I dig into new lessons. Nothing at all wrong with that. A few things have begun to click.
    Also — although it is basic stuff, I do find the little chord patterns displayed as you explain what you are “seeing” is most helpful. I can’t explain why, I just know it helps.
    THere’s a tremendous amount of knowledge in this lesson. If I can understand it in total, I’ll be a very happy camper.

    How you come up with these lessons amazes me.
    Does your head hurt sometimes ? I know mine does.

  28. Bob B says

    The format tweak is helpful. I think simply showing the chord notation adds a lot of value (i.e. 3:06, part 1) I would like to see the same notation used at the front end of most of your lessons. It allows me to work through the inversions at my own speed and get comfortable with them before seeing you put them to use.

  29. Daniel H says

    This is a tough lesson. At surface value it appears so simple but the fact it is a lead lesson (I prefer rythm) and incorporates diminished notes it quickly gets technical.
    All of this hides whether Brian’s change in teaching is an improvement over his previous style. But I like the addition of chord diagrams. Either way, I am on board for the ride and Brian is still a great teacher.

  31. Andy N says

    Very nice lesson Brian, lots of nuggets to takeaway here. The new format gets a big tick from me as I’m less interested in the actual notes than the thoughts behind why those notes and the tips on how to anchor their locations for the future. A couple of caveats though. A few years back I really liked to have the notes spelled out, I would be staring at my fingers and fretboard and be listening to hear where I should put them, so I think it depends a bit on the level each person is at. I also like to hear the detail on the fingers and picking patterns to use for the more challenging licks, where getting those right matter.
    One other thing, I’ve found the simplify approach of recent lessons e.g. no bass strings here to worry about, staying on one chord in the timing lesson (EP430), immensely useful. I can concentrate entirely on the main theme of the lesson. AND it still sounds cool! (I don’t know how you do that!)

  32. gbhstrat says

    Feedback, I have been a member for 10 years and I like the new format of not talking about every finger placement. I know it may not be as helpful to the new players, but I suspect that a lot of us who have been with you for some time want to know more of your thinking mechanics for making playing organic. Spending time talking about what exact string and fret you are causes me to get distracted and I start playing the lesson on my other window with the tab viewer. You have hundred of previous lessons new members can use and a great set of started kits for newbies as well.

  34. drlknstein says

    I absolutely love lessons like this. Triads, 3rds, 6ths,
    using relative minors for the chord, ( huge concept and eyebrow raising at jams)
    double stops and on and on

    I find these so useful for improvising at jams. I am able to play with people much better than me because of using these concepts learned here over the years. I can’t get enough of it.

    Often I use the search option to find lessons like this to work on. Sometimes I have a hard time finding them. Not sure if there’s an easier way to find more like this ?

    Anyway another good one for me. And I’m good with your new method You always explain where the notes etc are comin from tying them to chords, scales etc which is a great learning. Tool.

  35. Tim Moran says

    I subscribed to Active Melody because I really liked the explanations of where the notes come from – I had bought courses from other online instructors, but they weren’t telling me how they were finding the notes – the why of what they were playing. So yes, I don’t miss the “this finger goes on this fret” part so much, as long as I can learn the thought process… The only drawback I find is that Brian has so many cool guitars that I find myself admiring the guitar and losing focus on the instruction…

  36. pan054 says

    I totally agree with your new approach. The tabs already show what you need to know, the time is much better spent explaining the musical context. And it feels like getting less bogged down in ‘this vinger there’ explanations.

  37. Peter B says

    Oh Brian,
    One of the (many) things that sets you apart from all the other internet guitar teachers is that you take the trouble to explain the fretting and fingering for each note…. “I’m going to through it note for note” being your regular comment. Sadly that is missing in this video, and just like many other videos, you show the tab only. This loses one of your USPs. I hope you go back to your usual full explanations of the fretting etc as it’s so much easier to follow. Please take this in the spirit it is intended… you’re the best!

  40. Paul N says

    Hey Brian, I agree with your thoughts on focusing on the theory, rather than how to play the individual pieces. I’m actually not good enough to be able to play along with you as you show the lesson step by step. I learn to play what you are teaching by the Slow Walk Throughs and the on line tablatures and PDFs. I can then concentrate on the theory behind what you are teaching in the video lessons.

    Good stuff as always! Thanks!

  41. Justyn R says

    I prefer the note for note learning. I enjoy all the lessons, but it is much, much easier to learn the compositions note for note. You have always done great with the why, and I am 1000% better at guitar and my understanding for your lessons, but learning the compositions and playing them repetitiously is how I learn, and the easier to learn the compositions, the better I become. Big fan, love your work, you’re honestly one of my favorite guitarists, thank you a bunch.

    Justyn

  42. drlknstein says

    man…wow..gotta say the use of the relative minor F# after playing off the”” A at the 9th fret (d shape) is gold..part one near the end

    extremely useful and a new way for me to find the relative minor off that d shape and use that scale there

    ..easily transferable to other keys..thats new for me and these are the things i look for in these lessons…so cool!

    i love it when you link new things like that to the things we know..just excellent
    thanks

  46. William Y says

    I like the theory explanation. I use the tabs on playing the individual notes. Also, I would greatly appreciate a short explanation on how you select chords for the lessons, and how the relate to the key of the song. No need to do that for blues progressions since they are very straightforward.

  47. daniele f says

    Hi Brian
    Love your new format , more time to explain triad etc .
    So after the last 4#dim you wrote a b1dim but you called it a #5dim in the video and it took me a little while to understand that #5dim and b1dim have the same 4 notes .
    Tell me if I am wrong and if I am right thanks for my brain work !

  48. Wolfgang G says

    Sorry, Brian, but I’m a little confused. The top three strings 5th fret forming an A6-triad does not make sense for me. Is it not just an A-Triad? I might be wrong, but I think the top three strings second fret do the job for A6 and also give me an F#m triad. What do you think?

    Kind regards

    Wolfgang

  49. Jere R says

    Great lesson Brian, I agree with most everyone, explaining where every finger goes is time wasted…the tab shows it all. I’m a theory geek and love to know how it all comes together.
    I also love the play alone lessons basically because I play alone most of the time.

  50. David S says

    Brian, The last several lessons have helped tremendously.I can now play the caged system without thinking about it.The triads have helped so much to move up and down the neck. This is how i always wanted to play.Wish you were my teacher 40 years ago.Just keep up the good work “teach” . Your the One I Want. Thank You,Thank You,Thank You. Dave

  53. Keith S says

    Brian…my thoughts…after 2 AM years and at 68 yo playing for several years, I stopped trying to learn each weekly playing composition. I play with a singer doing 60s/70s popular tunes in breweries, etc. The really great thing I’ve started doing rather than learning your short weekly compositions, is taking your theory, CAGE ideas, etc. and then adding those touches to my playing on the tunes we do performing. I’d never have time to figure those little improvisations myself and they really add to my playing. So yes, I don’t go so much any longer learning the compositions; the note for note stuff. I take the theory, CAGE links, etc. and use them. I like your change!

  54. MICHAEL C says

    Love the explanation of the 1 chord being the 5 chord of the 4th chord . Using the 1/2 -whole-1/2 – whole scale over the dominant 1 chord was a real eye opener for me . Really looking forward to more theory applications like this and a future lesson on it as you hinted to . Thank you Brian

Leave a Reply

Recent Lessons

Contact

For all support questions email: [email protected]
For all other inquires email: [email protected]