 Guitar and Excel. Open chords. C major scale. B diminished 7 chord worksheet. Get ready and don't fret. Remember, the board's totally fretted already. So you have to be the calm one in the relationship. Here we are in Excel. If you don't have access to this workbook, that's okay because we basically built this from a blank worksheet, but we did so in a prior section. So if you want to build this from a blank worksheet, you may want to begin back there. However, you don't necessarily need access to this workbook if looking at this from a music theory standpoint because we'll simply use it as a tool to map out the fretboard, give us the notes, the scale, the chords that we're focused in on. If you do have access to this workbook, though, there's currently like eight tabs down below. We've got like seven of these green example tabs and one OG orange tab and OG orange. The OG orange tab representing the original worksheet we put together in a prior section. It now acting as the starting point going forward, mapping out the entire fretboard, giving us our entire musical alphabet, both in letters, numbers and combining them together, providing a key that can be changed with the green note, adjusting then the scale that we're focused in on on our worksheets in the right, which will provide us the notes in the scale and the chord constructions from the notes in that scale. We then wanted to focus on the C major scale and break out the chord constructions in open position starting of course with the one chord that being the C major chord. So if we go to this first tab, that's what we did, open positions on the fretboard, zero through three, mapping out the one three five of the chord mapping out the finger and discussing it in detail. We then went to the four chord or the F major chord skipping the two and the three. Why? Because we want to look first at the major chord constructions representing with the capital Roman numerals, numerals one four five. And then we went to the five chord, the G chord, and we mapped it out for the same or similar rationale and reasoning. We then went back to the minors, which isn't like going back to something that's worse. This is not baseball. This is the minor chords just as good as the major chords, but we went back to the two chord, which is the minor chord. I might have adjusted some of these names down here on these tabs as we go. But this is constructed off the two note of the C major scale. This is the D minor chord. We constructed it over here discussed it in detail. We then went to the three chord, which is going to be constructed off the E. It's going to be the E minor and we mapped it out discussed it in detail. We then went to the sixth chord and we skipped the four and the five because we already talked about those, the sixth chord being the other minor chord construction and we discussed it in detail. So now we're going to go to the seven chord, which is that weird one. It's the strange one because when you build a chord off of it, you don't get a major, you don't get a minor, we get what they call the diminished chords. And we can think about that a few different ways. We'll kind of dive into it a little bit later. But one way to think about it is with the intervals, looking at the intervals. And we said before that the major distinguishing factor on the intervals is the third. So the major and minors have a different third. That's what makes them major or minor one way that you can define the major versus the minor. But then we have this weird one down here, which also has a strange activity happening on the fifth. So you can kind of think of it as from an interval standpoint, similar to the minor. I think that's why it might be a lower case Roman numeral still, but then we put a dot next to it because it also has something funny going on with the fifth, meaning we flat the fifth. So we'll talk more about that later. A lot of people will kind of ignore the diminished chord because they're going to focus on the heart, the meat of the chords and the scale. And that's going to be the majors and minors chords constructed off the notes one through six. But the seventh chord is actually interesting, quite an interesting chord and has its uses. So we do want to take a look at it as well. And then if we look at the mode related to that, that would be the low Korean mode. And that would again be a kind of a strange mode, meaning you wouldn't normally, you know, try to make that chord the center chord that you're playing. And if you did, you'd be trying to do a low Korean type of mode. But that doesn't mean even though you don't usually play in low Korean, that doesn't mean the seventh chord is not useful, because it has its uses, as you're working around and say playing in the key of C, for example, because it kind of leads back to the one. So we'll talk more about that later. But I just want to point out that I think it is quite useful to learn a little bit about the seven chords and easy chord to play. It's not that difficult. So it's worth taking a look at. So I wouldn't just ignore it. So any case, I have ignored it in the past in my own thinking of it. And I don't think that was a good idea. So I'm saying that's why I'm saying I don't think we should ignore it at this time. So I'm going to copy over the og talent. We do that again, in case we didn't see that, we're going to put our cursor here left, hold down the control left click on the og and drag it to the right. And then I will double click on it. I'm going to say this is the practice. And this is going to be be diminished. I'll call it seven chord. Hopefully I got that right this time, because I think I mislabeled some tabs in the past. And if I have and I confuse people, I apologize for that. So then we're going to go up top and say, okay, so we're still going to be constructing off the key of C. So I want to make sure that my worksheet up here is in the key of C, which is a four. And then I'm going to copy the worksheet down. Now this will be the Excel intensive part of the project. If you know if you're not a big Excel fan, you could possibly skip it. But I still think it's good to look through it, even just from a music theory standpoint, because when we start to build things and actually map things out on the fretboard, you'll see us actually mapping it out each of the cells as we color them instead of the end product, which I think is is easier to see sometimes. So even if you're not into the Excel thing might be worthwhile to stick around. But it's up to you do whatever you want to do, man. I I'm not telling you how to how to do stuff. Or I kind of am. But this is just a suggestion on how I would do it. You don't have to do it that way. If you don't want to. Okay, that's just it's just a suggestion. So I'm going to then pull this down. And I'm going to then select all of this stuff. And copy it down. So I'm going to go from here down to the bottom of this blue one over here control C. And I'm going to paste it down because I want to repeat the same construction we had up top as opposed to what we did on the og tab, which was to have the modes with the same note underneath. So I'm going to paste this down here so we can have the fretboards on top of each other, and then sort through them. So I'm just pasting on the red zero all the way down control V control V control V. And there we have our fretboards. Now I'm going to hide the ones that have the just the numbers even though look how clean that is just like the Sudoku board, just like the Ahsoka board. Wait Ahsoka Ahsoka is the Jedi Sudoku Sudoku. They sound that they don't sound the same. They're totally different. They're told so doka Sudoku. Okay. So anyways, most people don't aren't into that. So I'm going to hide that. But if you can see it in just numbers, look how much cleaner it is. Then then the letters, especially when you put the sharps and flats in there. So it I'm not saying the letters are not good or whatever. I'm just saying that's if you can visualize it that way it might be useful. Just saying just saying and then I'm going to hide I'm going to hide all this Ahsoka boards because we're going to hide all those. No one wants to see Ahsoka. I would we would we would have been into it but that last the last TV show about Ahsoka was not that impressive. So now nobody's into it anymore. No one wants to see the Ahsoka board. So whatever hide and then the cartoon was was pretty good. But then they ruined it or at least part of it. I don't know. The Clone Wars had some cool stuff but then it went on forever. I didn't see the whole what he's I'm off on a tangent. So we're going to hide all these down here hide hide and then I'm going to hide from the fret four. Let's go from fret four all the way to our worksheet on the right as we normally do right click and hide all that stuff. And then I liked how last time that we had the related mode to the right which was the minor mode before I kind of wish I did that the whole time. So I'm going to start doing that now I'm going to hide the at right click and hide that and then I'm going to hide from this B whatever it is BB and then go down to I get to the Locrian which is the last one the funny one the strange one Locrian is that weird one right click and hide. So again we don't normally play you probably wouldn't think about it in Locrian mode often unless you're doing something a little bit strange we'll talk about it a little bit but you can try it out certainly why wouldn't you but we'll get into that later I'm going to see if I can make this as large as I can while still getting this Locrian totally in the picture this needs to be in the picture okay so so now all this is doing so now we're going to focus on the seven chord which is the funny diminished one and that would be the one chord if we're playing in the Locrian mode so that would be the one chord up here that's kind of hard to do because like you kind of gravitate towards either playing in the major or the minor the relative six and some maybe the Dorian is not too hard to make the center but making the making the seven the center a little bit more challenging but we're up the challenges challenges are what we do around here we meet them we meet the challenges anyways home tab let's let's map the 135 out and say okay this is going to be a B and this is going to be green and then conditional formatting this is going to be D that's going to be red and then conditional formatting let's make this one the F and that's going to be the yellow so there's our standard process and then I'm going to make both of these yellow to indicate these are the difference of the intervals so both of these intervals are different than the one chord so it's kind of like a minor and then it's three notes away and then it's not seven notes away like most fifths but it's six notes away we'll talk more about that later but we'll just map that out here now you could finger this a couple different ways I usually just kind of visualize it this way where there's my root and there's my there's my fifth and and if you do it this way you're not really mapping out like an open position because you can play this anywhere anywhere on the fretboard because you're basically going to mute this string play this string and this string and and then this string but that's a really nice easy movable position so anywhere you find you know if you're trying to play a seven or diminished if you find the root on the a string then you can play this chord any anywhere and so that's why I kind of it's an easy thing to see it's also kind of easy to see because note that this relationship is what you're kind of looking for to get that to get that sound because that's going to be that flatted that's going to be that flatted fifth right so it's going to go from seven notes out to six notes out and that's what you're kind of looking for so when you see that relationship not notice that normally you have a you have a relationship that looks like that right if I take this a then the next string would be down here would be the e see if I look at this a and the e that would be the relationship between the one and the five that's a power chord type of relationship so that's normal in both the sharps and the flats when we say that we flat it if I was going to flat it that means I'm pushing this out so remember like this terminology just a quick thing on this terminology when you do the sharps and flats I might use sharps and flats to say that a note is a sharp or a flat and the reason I do that is basically so that like I wouldn't have two notes that both have a d in the construction for example so if I if I had a d and I had a d flat then I would probably call it a c sharp instead of a d flat so that you don't have two d's next to each other that's one but then when you say it when you use it as a verb I am sharpening something or I'm flattening something that's basically saying either you're going up or down so if I'm sharpening something I'm taking it up a half step and if I'm flattening something I'm taking it back a half step so if I look at this diminished I'm basically saying it's got a flat five here's the five which is seven notes away I'm flattening it meaning I'm taking it back down a half step that's all it's saying so anytime you see this interval between two strings except between these two strings because that's the weird interval but any other two strings that has this one up here and this one down here you're probably thinking okay that's going to have that kind of strange interval that's kind of give you that dissonancy kind of diminished type of sound okay we'll talk more about that later though then let's map it all let's let's put it uh let's put it down here too we'll say this is going to be here this is going to be that's the d and then this is going to be the f all right so then i'm going to bring it on down let's do it again ultra vase another time once again pour five or please okay no one wants to hear you try to speak spanish i need to practice i get no practicing time okay this is going to be let's make this whole one uh the let's map it out this way first this is going to be our pentatonic scale so i'm mapping the pentatonic scale now in c major not in i'm not mapping it out to the related locrian you know scale there that which might be a weird jazzy type of scale but remember the pentatonic scale normal people think about it in terms of its being is being related to the major or the related minor so we constructed this chord from the major scale having all seven notes and now we're going down to only five notes so there's going to be and that's again this is a funny a funny chord because two of the notes actually don't fit in the five note pentatonic so let's check it out so if i look at this pentatonic scale and i'm going to map these all out as green first that's what we've been doing map them out as green the uh hold on there's the sea is green the sea is blue what are you talking about it's green sometimes it depends on where you're at it's like it could be green i'm pretty sure Homer and the and like the alia in the odyssey said they don't even know what blue is they called it green i think so whatever and that's going to be green and then one more time and then this is going to be green okay so then we'll map this on top of it and we'll see that this is our familiar shape we've mapped it out what six times already seven times so now we're gonna now we're gonna put this on top of it uh what am i doing this is not the one this is on the seven we're doing this one my brain is not exact i'm kind of out of it today for some reason i don't know what's wrong with me bear with me bear with me but don't worry it's just a teddy bear that's with me so don't be scared so bear with me but it's just it it's not going to hurt you because it's just a teddy bear okay so then we're gonna say this will be uh boom and this is going to be a b and we'll make that green and so and then this one is going to be a d and we'll make that uh that color red and then this one's going to be an f and it's going to be yellow that's our normal thing that's we know now of course the b doesn't fit uh in our pentatonic scale because it's the seven which isn't in our pentatonic shape so that don't fit that don't fit man but we'll uh we'll put it so i'm just going to mark that out as outside of what's acceptable in this area and then the f also don't fit see we have two of them that don't fit man so if you were to play so when you're so if you were to be playing playing in a pentatonic scale and you go into this chord then you could say okay that's going to be the same pentatonic and you can kind of add in your mind those two notes that are not in the pentatonic shape but would be in the major shape of the c major so now let's map out the entire major and then put it on top it will be on the major scale because of course we constructed this thing from the major scale it's the major scale all right so we'll put this so let we'll make them all blue this time home tab style major is gonna be blue major blue is gonna be a c is blue and then boom everybody's got the same everybody's gonna be in the same outfit these times so that we know who's on the team if i'm kicking the soccer ball from one person to the other they're gonna i know who they are because they have the proper jersey on if they don't have the proper jersey on how can you play the game you don't know who's i have to like recognize i have to like recognize them by like some other characteristic i mean just put the you have to have the colored jerseys or it's not fair this is not all right so then here we go i don't know how colorblind people play sports you know i'd be a pretty hefty detriment i would think but we're going to put this on top of it now these would fit in there now so we're going to say this is going to be this one is going to be green and then this one is going to be red and then this one is going to be yellow boom okay so those all fit within it right let's put our shape on top of it i'm going to put this shape on top let's copy that and put that here it's covering up my yellows let's put the yellow i'm going to try to put the yellow kind of like on the inside so that we have layers layers of meaning meaning it's so deep the layers of meaning extend it's crazy okay this is like you think you understand but no you go for you just go for it just keeps going going down deeper and okay so there we have that and then uh we're going to say this is going to be green and then this is going to be red and this is going to be the yellow okay and then i'll copy this over here too this is the one over here i can just copy these three format paint that over here and i can do that over here too this should have been done over here what are you slacking get your head in the game get your head in the game okay had enough of this all right calm down i just forgot and then we can copy this one over here all right okay so then let's do that again down here uh this time we're going to build we're going to build the foundation we're going to build the foundation on the major and then put the pentatonic on top of it and then the cord on top of that so we'll see the layers the layers of meaning will be it'll be incredible see once it's constructed it's hard to actually see the profundity of the layers of meaning let's make this green but as it's being constructed that's why it's important to watch these ones even if you don't like excel because this is the layers you have to see the layers as they're put in place in order to fully comprehend the profundity so we're going to start out with the same colors of blue as the foundation laying down the foundation of the major scale foundation all right and then boom the founding foundation f and then and then and then and then blue and then blue and then blue one more time and blue the b blue duh duh duh okay so there's our foundation then i'm going to put on top of it the pentatonic which will fit perfectly in it because we're just taking the the five notes penta out of the seven what you didn't know penta meant five you don't know like greek or latin or french or whatever that language you don't know what that language is whatever get getting wise up man we're gonna go uh we're gonna make them green home tab style and we'll make them green it'll fit right inside here and boom here so here's the c and the the c and then the d and the layers of meaning oh my goodness the eyes are opening the filthy layers of crust have been removed from my eyes as the meaning is shining down with profundity look at that okay the pentatonic fits inside of it perfectly and then we'll put these on there which will fit in the major scale but not perfectly in the pentatonic scale because we're building it off of the seven note scale and the seven quarters starting with a note that's not in the pentatonic scale but isn't but is in the major scale so let's do it let's do that so i'm gonna go this is gonna be the b we'll make it green and then this is gonna be the d is red and then this is gonna be the f which is yellow all right so then we've got b let's put that down here the b b the b's being green the b's being the b's being green okay so there's the colors let's put these colors over here format paint that over here and then uh i can indicate that these notes are outside well let's just copy this down copy the shape we'll put throw that down throwing it down throw it down don't just put it down you gotta throw down so i'm talking about throw it down with authority uh any case the b is gonna be yellow i'm gonna make it yellow to indicate that it's outside of the pentatonic scale that's what that yellow means in case you didn't know uh and so is the f outside of the pentatonic so you've got two of those notes outside the pentatonic which are actually in the chord we're constructed which of course is inside of the major scale because we constructed it from the major scale but two of the notes aren't aren't in the in the sub cool the in crowd of the pentatonic within there okay so does that look right i think that's right so now let's do one more here just to give we'll talk about maybe the functionality later of the why you might use this this chord uh uh in practice in one way you can use it of course is to lead into the one so let's look at the relationship between the seven and the one it's also kind of interesting to look at the relationship between uh the seven and the five because you'll note that you have this three and uh the the b and the d and the b and the d uh over here interesting relationship but we'll talk about that later possibly right now let's map out just these notes again home tab and make this uh b b b green b b green and then we're gonna say this is going to be the red and then this is going to be the yellow the yellow and okay so then i can copy this back on over here bb green db red fb yellow oh uh okay and then i'm gonna copy this home tab format paint it over here and then i'll copy this oh what did i do undo undo oh okay frustrating when excel doesn't respond properly all right and then i'm gonna copy life is so difficult i mean it's just crazy crying out loud okay so there we have that now now you might compare that to the one up top because it leads into the one kind of and how is that we could say well let's map out the one over here let's do it with just like boxes i'm gonna make this one green make it green and then i'm gonna make this green and then our c chord up top we usually play it like this there's our c and then there's our c you see that's not a c but it's part of the c chord see you see what i mean the c you see what i mean with the c okay so we have this one here uh did i do that right something doesn't seem right this should be over here and that should be there i think that's right let me know if i messed up if i messed up i apologize it happens sometimes um not very often of course but from time to time any case the point is that you get the that this relationship between the b going a half step up to the c is the leading tone right that half step the half step away going from here to here is a leading tone so that's why you kind of often might use it you you're going okay i'm going to play that before i go back home and it kind of gives you a pull to go home there's other ways you can work in to use it as well but that's the most obvious kind of way that you can you could you could see that it would be a useful thing to use and just to look at that a little bit more like if you go to the the o the og over here and you look at the musical out the that we created here notice you have the c is two steps away to get to the d two steps to the to to the e and then one step to the f i'm looking at here two step to the g two step to the to the a two step to the b and then one step to get back home in other words this half step going from the seven note in the chord one half step up gives you that leading that leading feeling to get back home to one and so if i if i play that with chords then you have to play the seven chord in order for it to lead you back to uh the one chord and the seven chord if i construct it just from our normal pattern we just started the b and we take every other note uh that we constructed from our c scale it happens to construct not a major or a minor but it constructs this diminished right so if you want to get that pulling feeling you've got to throw in that diminished before you go back home to the c and you get a kind of a different feel than you would right often oftentimes you play the one four five will give you a very if you go if you go from from the four to the one you get kind of a pulling feeling back home that works good the five to the one you get that same kind of thing but so that's common you go from the one to the four or go around to the one or the four the five to pull you back home to the one but if you want to get a little bit different feel then you can you can throw in the seven here before you go back to the one and because that has that leading note here going from the half step from the b to the c then it pulls back to the one very nicely now you can also see that if we if we look at this five chord it's kind of interesting because sometimes people play if you add the seven over here on the five chord that's the dominant you know a seven chord the five is the if you add the seven to it which has a different interval than if you add the seven to the other major chords and you can see it's got some similarities here to the seven the the seven chord or the chord constructed off the seventh note right because now you've got that f that's being pulled in here so you can see some relationships is what I'm trying to say to the to the five which is traditionally what people often think of as a chord that pulls back to the one very well and people often add that seven to the five to pull back to the one well and if you look at the similarities between you know the five and the chord built off the seven you get kind of some similar feelings similar kind of characteristics from it so in any case that's how you might kind of take a look at and use it we'll talk about this stuff in a little bit more detail now that we have our worksheet built in uh future presentations