Active Melody

Learn to play blues guitar.

Using Major & Minor Triads to help you visualize a melodic lead – Guitar Lesson – EP627

Description

In this week’s guitar lesson, you’ll learn how to play a slow, melodic lead by connecting major and minor triad shapes to the Major Pentatonic scale. This is designed to help you visualize a path for your lead and know which notes are safe to land on.

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Comments

  3. Donald R says

    Very nice composition explained clearly and understandably. I’m curious about the chord structure of songs in general, this one being a great example. Is there a general rule of thumb approach to, the order of, and which chords are included, in the construction of tunes that are outside of the 1,4,5 recipe?

    • Michael Krailo says

      Not really. You will eventually know all the chords within the structure of the major scale for any key if you stick around long enough. There are seven of them and when you throw in borrowed chords and secondary dominates, the sky is the limit for the various ways that you can create a progression. The shear amount of examples on this site is incredible. It will sink in over time, but once you learn the concept of what he is doing to create a composition, there is nothing holding you back from creating your own thing.

      The zoomed out view of what is happening always boils down to creating tension and release with the sounds of the chords and melody notes. There is usually a tonal center to a particular song, in this case it is the A note and A major scale or Fm relative minor scale. The V chord just happens to be the most often used chord because it creates the greatest amount of tension and the IV chord creates a similar amount of tension depending on if it is descending or ascending. It all becomes clear when you bone up on music theory.

      A Bm Cm D E Fm Gdim

      You can pick any one of the other chords (other than A) to create tension and eventually resolve back to the A note or chord.

      If this was a Minor key (Fm), then the ONE would be an F note or Fm chord.

      Fm Gdim A Bm Cm D E

      Hope that makes sense, but if not, don’t worry about it. You’ll get there over a period of time.

        • Rob N says

          Michael made a typo. If you take the A major scale and harmonise it you get:

          A Bm C#m D E F#m G#dim

          These are the same chords as the relative minor (F#m key):

          F#m G#dim A Bm C#m D E

          So, a 1,4,5 in A major would be: A – D – E

          in F#m a 1,4,5 becomes: F#m Bmin C#m

          Hope this helps. For a deeper dive see my comment below. I’m not sure what you mean by the 5 positions.

          • Rob N says

            Sorry, if you mean the 5 boxes/positions for playing the A Major scale, then the F#minor scale would be the same notes (the relationship of the notes/intervals changes but the notes are identical). Same applies to the pentatonic boxes: A major pentatonic is the same notes as F#m pentatonic.

      • Rob N says

        I’d echo what Michael is saying, especially regards tension and release. There are rules to chord construction with regards to diatonic harmony – but just to point out the harmonised A major scale is:

        Amaj Bmin C#min Dmaj Emaj F#min G#dim

        The basic triads are constructed by taking every other note of the A Major scale (A B C# D E F# G#) – so A major is A C# E; D major is D F# A and so on. You can extend these triads in the same way – skip a note – so Amaj becomes Amaj7 (A C# E G#); Dmaj becomes Dmaj7; Emaj becomes E7…etc.

        Each Major key has a relative minor (the sixth chord of the major) which uses the same chords but in a different relationship, so the relative minor of A is F#min:

        F#min G#dim Amaj Bmin C#min Dmaj Emaj.

        It’s very common for songs to have a section in major then flip to the relative minor for a section (for a bit of tonal variety), then back to the major to end.

        I am not knowledgeable about Blues chord construction ‘theory’ but it doesn’t follow quite the same pattern – tending towards lots of dominant seventh chords. The I chord is often extended into a dominant seventh, for example, as is the IV chord.

        There are, arguably, ‘general rules of thumb’ to chord structure in certain genres – so it depends which genre.

        These are not strict rules though – more like familiar habits of previous songwriters. Some genres are more habitual than others, but I think it’s fair to say that with regards ‘popular’ music – rock, pop, blues, soul, folk etc. chord progressions are rarely complex and there’s loads of repetition. The I IV V recipe is perhaps the best known and thousands of songs are just that structure, but there are lots of other common ‘recipes’. People have composed songs using one chord, or dozens. It’s common to mix and match mini-progressions to get something new.

        I am constantly amazed how songwriters can produce something new and interesting from the same old chord progressions.

          • Rob N says

            I worry I write too much, but I’m just keen to share info that I think might have helped me early on. I would add that if you’re interested in chord progressions then the best thing to do is just analyse the music you like – but you do need a bit of basic theory to understand what is going on.

            For example, I would describe Brian’s tune here as a I – iii-ii main section that modulates to the relative minor for a i-iv-v (minor 1 4 5) section that then uses the D and E as pivot chords back to the I chord of A major. If you’re not used to this terminology it might look complex, but it isn’t really. Just think of each of the 12 major keys having 7 diatonic chords (constructed from the 7 notes) numbered: I ii iii IV V vi viidim with capitals indicating major chords and lower case minor. Then each major key has it’s relative minor which is built off the vi chord.

            Seeing it in this way, you can then transpose the tune to any key and you also see the common formulas for returning to the home/tonic chord – e.g. that minor section is just a 1, 4, 5 in the relative minor that then uses it’s VI and VII chords as the IV and V of A – to get back to A.

            *Some would say the tune never leaves A and that the middle section is a vi – ii – iii followed by a IV – V. Fine, whatever works for you…

        • Donald R says

          Reply to the Jan 11 post. (no reply button there). Not long winded at all. I’m now retired and have always wanted to understand the fret board and how great players float around it seemingly effortlessly, but lacked the time. Now that I have time, I found this site a year and a half ago and it is right in my wheelhouse but like a new language the amount of information can be overwhelming. That said, I average maybe 2-3 hours a day and thanks to Brian I’m gaining a solid understanding of the CAGED system. I have been concentrating primarily on the blues and have sky rocketed my technique etc. there but perhaps stunted my education beyond the 1,4,5 realm. What you related makes sense as I have dabbled with some of the Major and relative minor lessons but not often enough to sink in well. Considering the prior weeks pep talk from Brian, I think this year I’ll dive into his “my courses” section as a regular daily exercise. Thanks again!

          • Rob N says

            I’m glad it was some help.

            The great thing about Active Melody is that you can jump in anywhere and pick up some new things as well as reinforce what you’ve learnt so far. It all gradually illuminates the fretboard – you start seeing all these connected patterns, ideas, themes, licks etc.

            Brian isn’t heavy on the theory side (which is good imo), but most lessons cover some aspect of it – he always shows where the notes/licks etc. are coming from and how they relate to the chords. I have lots of areas I would like to improve, not least my blues technique!

  4. Patrick B says

    Several years since becoming a member, I still look forward to Friday and the newest “weekly lesson.” If you want to enjoy top-notch h teaching, excellent backing tracks, PDF printable downloads, and the video lessons that can be slowed, looped, etc. You won’t regret the price to become a yearly member.

  5. David B says

    I really liked this lesson. As a guy who likes R&B, Gospel and blues I am taking an interest in triads and double stops. It’s been a while since I actually picked up my guitar and did a lesson but this one pulled me in.
    Question: Is there a way to loop the backing tracks?

    Brian Thank you for the great lessons.

  6. John H says

    Am starting to understand the value in playing out of the triads like others here are saying – And I could not agree more to the fact that Brian’s site has it all – Gotta have some ActiveMelody each week !!
    Thanks Brian –

  8. Michael K says

    I find that gradually working on each weekly lesson chords and arpeggios are presented in context which helps put the concepts into my long term memory. This really builds my technical capability but also the ability to improvise. Wonderful lessons!! Thank you!

  9. Mike R says

    Amazing lesson that has opened up my eyes to patterns a lot more. Really appreciate these lessons. I’m getting to where I can play most lessons fairly quickly but then I start experimenting with them and getting lost in them. Until next lesson, then repeat. Went back and started playing with EP 591 again this week. Recommend it to all who love a beautiful blues. More like this one please!

  11. Michael T says

    So far, I’ve just watched the first part on YouTube. I’ve enjoyed all the lessons, but this one seemed especially good. Simple. Clear explanation. Beautiful melody. And I like that guitar. Lesson 627. I was thinking about the celebration when you hit Lesson 500. I took a tumble down the stairs last March, and severely injured my left (fretting) hand. Didn’t touch a guitar for eight months. Now I’m back at it. Be careful out there.

  12. charjo says

    My challengeis to quickly see which notes I can use to embellish around each triad shape. I think the answer is to be aware of what shape of the tonic major scale you are in based on the the location of the tonic root notes in that position.
    Another way I see it is to think of the chords modal function, ie. the iii is phyrigian so the extra notes beyond the pentatonic are coming out of the phyrgian shape. Easier to see when the triad is played out of 6th string root chord and recognizing intervals helps.
    Third, would be an awareness of what notes are in the key and seeing them on the fret board around the triad shape. All of this is hard to do instantaneously.
    I guess over time your ear and muscle memory start to take care of some of this. Trial and error works but not in the moment.

  13. Georg B says

    Hello Brian,

    First of all, happy New Year! I’m very much looking forward to being part of ActiveMelody again in 2026.

    Sometimes it’s the things you casually mention that help me gain a larger overall understanding. You said that for the C sharp minor chord, the A major scale can be used for improvisation. Then you also said that for the B minor chord, the A major scale works as an improvisation option as well, and that all this is true because these two chords belong to the A major chord family. I should have realized this long ago, but because you said it now, it became clear to me. Now I understand why all chords within a key can be accompanied using the major scale of the root of the chord family, in this case, the A major scale. It’s actually obvious, and yet it was necessary for you to tell me. Thanks!

    All the best,
    Georg

  14. Olivier P says

    I especially enjoyed the end of the second video, with its excellent improvisation ideas. Triads and pentatonic scales are starting to come together nicely.
    Another excellent lesson, thanks Brian.

  15. Daniel H says

    Brian, your rambles at the end of a lesson frequently contain the gold! I love how you give us a new shovel and pick ax up front, teach us the lesson song, but then sometimes you extrapolate (ramble?) at the end of the lesson. You did that in this lesson and for me that is where you gave us the gold! Please continue to take your time at the end of the lesson… I don’t know much thought you put in at the end of a lesson but man you give me some good stuff to work with in your closing statements. Thank you!!

  18. Mark G says

    I always struggle to quickly find the notes of the major scale being used, but I found a truefire course by Rob Garland that is slowly sinking in. Its based on 5 shapes starting on the low E and using on the 5 major pentatonic notes. A, B, C#, E and F#.

  22. daniel M says

    Nice way to start the New Year, another year Brian! love concentrating on triads fits in well with lead. Works so well with incorporating the major and minor pentatonics in knowing the caged system.

  24. Bob N says

    Much of what I’ve learned in the last year and a half of taking lessons from Brian seemed to gel for me with this one. Mixing the 5 pentatonic scale positions with the triad chord shapes on the run. Playing the lesson’s song along with the running tab has been a hoot (at a slower speed first). Thanks Brian.

  25. Imerio A says

    Very good lesson as usual Brian. Triads and pentatonics are a fantastic way to unlock improvvising. I always see you with great guitars but I never seen a Gretsch in your hands. Is there a reason??

  26. Steve says

    Great lesson as always, plus a minor blues microlesson added right at the end of this video!
    I like how you visualized the A major scale on the 1st string. We are really playing 5 pianos at the same time if you think of E as repeated. In my playing am trying to think outside of the shapes and also think about the scale on a single string which I think can be more intuitive than playing across strings. When playing these triads its important to identify which is the root note, i.e. inversion. Then I assume one could branch off to other chords as long as the root note is in there, although admittedly that might take the song off track a bit in terms of harmony. I also like how this song played in all the minor keys of a major key but then used the 4 and 5 just to get home.

    • Steve says

      So once working out the major scale of A on 1 string, any triad that includes one of those notes is related to different degrees to that scale and could be tried to see if it fits.

      • Michael Krailo says

        Yes, but the backing track chords are the foundational guide for which triads apply. What you are surmizing is very good knowledge to apply to any given backing track.

        Also seeing scales of any kind on one string first as you found out, is definitely easier to grasp. Beyond that, interval shapes take it to the next level.

  28. Vagelis F says

    Hey Brian! Thanks a lot for the awesome lessons — I’ve learned so much from them. I really enjoy your comments at the end of each lesson, especially when you start talking about how you improvise around an idea. It would be super interesting to have a lesson or micro lessons just about improvisation, with a bit of theory like in the last one, even if it doesn’t turn into a full song. Thanks again and greetings from athens greece

  29. Timothy M says

    Brian, what a great start to the new year!

    I’ve been doing as you continually advice and layering my understanding based on the CAGED shapes. I have added a lot of information, but this lesson gave me a new ‘aha’ moment.

    I had never thought of the ii and iii chords in relation to the major pentatonic shape 1. Now, I can see them. 🙂

    Thanks for all that you do!

  32. Brian S says

    This is an excellent lesson… I always try to incorporate triads into compositions, but naturally fall into 1-4-5 patterns, so seeing and using the 1-2-3 in this way, while incorporating and overlaying the major pentatonic is not something I would think to do. Thank you for expanding my thought process.

  34. John I says

    Another great lesson connecting the fretboard with triads that are always near by.
    Your entire method of teaching makes improvising so much more logical. Thanks as always, Brian!

    Something I started doing recently, is to play the chord rhythm structure over and over and finally on a looper. Doing that, facilitates my ability to recognize those triads (and others) in real time while I’m learning the melody and working in new licks. Works for me anyway!

  35. robert f says

    Hi Brian ,
    it’s Rob from Australia . I have never written before . This is just what I’m looking for .
    I have watched many lessons on utube , please never stop the way you present ,I enjoyed the way you always start with playing your lesson .
    So many talk for so long, that it my ears start to ring.
    Again, thanks for all you do .
    Regards Rob F.

  41. Philip D says

    Great Lesson Brian. I have been learning the song: Wicked Game by Chris Isaac. His guitarist uses this same type of technique to bring an interesting and simple sound to the song.

    Thanks for helping me unleash these techniques.

  43. Bjorn C says

    High Brian.
    I really liked this lesson because I’ve been playing triads my whole life without thinking of doing something more around them. I will practice this part and the next because I already know where all these triads are on the fretboard.
    Did you see the email I sent you “A short peace of music” two days before yesterday?
    Best reg
    Bjorn

  44. Jay F says

    Love this lesson Brian…….as a follow on could you sometime do a lesson on walking up and down from chord to chord using triads.
    I seem to remember you touched on this in a previous lesson.
    Thanks!

  49. Aaron P. says

    Sometimes I watch the intro to these lessons and think, “This one looks difficult to play.” But every time I dive into each lesson, Brian has such a great talent for explaining things that it becomes so clear and easy to understand. I love Brian’s style of breaking down each nugget and explaining the theory behind it. So grateful that he is sharing his gift with others!

  54. freddie h says

    I have been a member since your earliest lessons and, to me, this is one of the best ones you have done. I don’t try to memorize all your arrangements, but I have done a deep dive on this one. Now that I have it pretty well down, I’m going back and trying to pick what I’ll call the method to your madness. That works well for me. Keep hammering the triads. It takes a while to sink in but I’m finally starting to see at least the major scale surrounding the main triad shapes. If there is a simple way to visualize the major and minor scale as one scale, another lesson mixing both would help. Thanks for a top ten lesson.

  55. Guy H says

    Great lesson as usual. It would be very helpful to “pop up” the scales you reference, for example the position 4 and 5 A major pentatonic scales. I typically write the scales and chords in my composition book, learning both allows me to improvise “easily” ha, never totally easy, but doable. Thanks again! Guy

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