 Guitar and Excel open chords C major scale D minor 2 chord on C major scale Get ready and don't fret. Remember the board's been fretted. So you don't have to be 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 started in a prior presentation. 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 will simply use it as a tool to map out the fretboard Give us the scale and chords that were focused in on if you do have access to this workbook though There's currently like six tabs down below We've got the four example tabs in green the og tab and og orange and the practice tab The og tab and the og orange 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 in numbers and combining them together Having a key that we can change by changing the green cell which populates our worksheets on the right Which gives us the scales and the chords that were focused in on we then wanted to focus on the key of C and the chords created from it starting with the one chord which is the C So that's this first green tab on the left where we mapped out just the first free three frets of The fretboard looking at the open position Mapped out the one chord the one three five of the one chord the C major Chord and then we analyzed that chord We then did a similar thing jumping from the one chord to the four chord Because they're similar in nature both of them being major scale Constructions that happens to be an F. We mapped out the F in open position It's actually a bar chord type of shape But it's in open positions in that it's in the first three frets Then we move to the G which is the other chord construction when mapping out from the scale of C on the five chord And we mapped it out on the open positions naming the first three frets And now we're moving to the minors this time the D So we're looking at the D and we have our practice tab on the right that we've been working on thus far So so far. We've minimized the fretboard. We've only got the first three frets here remembering that this first fret a zero or the top string I should say is The low string in terms of tone or the one highest to the ceiling in the way We're mapping out our fretboard because I think that's the easiest way to visualize it Now just a quick recap remember that we are in the key of C and we've been mapping out the chords in The key of C. We're now looking at the two chord and when we construct the two chord the way we did that is we I think it's easiest to look at the circle over here. These are of the notes in the key of C We started with the two note, which is a D. We skipped every other note Just like we always do we got to an F and we got to an a there's the D. There's the F There's the a we number those however the one three five Not relative to the C scale because it started on a two relative to the C scale But relative to its own scale which in this case is a minor scale So remember that I can go back then let's check that out if I go to the og tab and I type in a six up top Then we're going to get our D. This is the D major Underneath it. I put the minors that have the start same starting note. So here's our D minor now Remember when you're looking at the modes including the minor mode, which is Aeolian you can think of it as related to the major scale So it's kind of useful to think of all the scales kind of the major scales And then all the modes including the minor are kind of constructed from that major scale construction as we've seen But in any case if I look at the minor I've got the one I've got the three And I've got the five D F a and that's where we get our D F a One is going to be green we mapped it out on the fretboard with the green items And then the three is going to be F We mapped it out in red and then the five in yellow so our normal fingering position would look like this then on The fretboard this string up top is ringing out and then we're holding down these three strings Oftentimes will mute this string and this string either with the meat of this finger muting I'm sorry. We'll mute this string and this string and you can't do that with the thumb reaching over a lot But remember that if you were to ring those strings out it would be okay because notice that the a is Something that you can ring out and that's easy to ring out By not muting it with my thumb and then if you did ring out the e Which it's easy to mute the e with your with your thumb if you play it like that But if you did ring it out It wouldn't be the end of the world because the e is still like the nine Right, or you can actually try to finger the f with your thumb If you wanted to get the full like a fuller chord some people this is kind of a more of a I guess a bluesy type of chord maybe not a classical guitar position But if you grab the f like wrapping over the top of the neck like that Then you can grab that and you still get that low f Which is the three which is nice because now you're ringing things out there are all in the 135 of the chord, but you still have that issue where the D is really not the lowest Note so those are just a couple options that we have now last time We noted that we can think about playing this a couple different ways remember that we're in we're constructing this all from The scale of the C scale so if you think about that as your home base the C as your home base You could start to play these chords Within it right so I can see see C is my home base Going from a C and then I can go to my D minor as to Back to a C maybe go into an F Go into a G Back to a C Back to a D minor right and you can kind of noodle around like that Or you can try to say I'm going to noodle around with these same Chords and notes, but I'm going to make this my home base So now I'm just going to play the same stuff But now I'm always going to go back to the D so I can play the same kind of thing But now I'm starting with the D minor and then maybe I go to a C And then back to a D minor And then a G Back to a D minor whatever you want to do But now I'm playing around the D minor and remember that as we do that you're basically playing a dorian mode Right, you're just saying now I'm making that the tonic the central point if you wanted to reconstruct it So that it looks like a dorian the dorians on the right so we can go on to the right and say Here's here's the the dorian construction if I hide this on over to to here and right click and hide Then all we're doing in the dorian construction I'm doing this with I should put the guitar down and have two hands so I can Do this right, but so all we're doing is say now the the D is the one We just rearranged it but notice these The lower case still represents the minor chord construction And you've got a minor chord on a D a minor chord for the e And a minor chord for the a same thing here You have the the the D is the minor that's our focal point the e and then the a so you can think about it as dorian But you can also just think about it as well I'm just playing the same notes, but I'm going to make that chord the central point. How do I do that? I just play around That chord now we also noted that Because we're in the key of c we can lift up our our fingers So let's scroll down and I'm going to look first this time not at the pentatonic But first look at the major scale construction. So if I look at the major scale construction We have our Let's copy this Our same Notes that we're playing down here, right? Let's do it one at a time again. So I'm going to go boom this one and then to And then copy and then over here and then here and then The open note is ringing out here. So that's basically what we can play But all the blue notes are Legal to play so we notice that we can lift up our fingers And that's the first thing you might start with with any of these chords I can always play the opens because I'm in the key of c and all those open strings work So I can start going like this and maybe lift up this finger. What does that do? It takes the f back to an e now You don't have to analyze this because you can just think of it intuitively when you're just kind of Trying to explore the fretboard and then it's good to go back and analyze if you if you had an e. Well, that's the nine So, okay, so now I'm playing like the same thing But I'm dropping the f and I'm picking up a nine I'm losing the three and I'm picking up the nine So we don't have to get technical and say what kind of chord that is I can just say what does that sound good? Interesting. What if I lift this finger up? So I'm going to say now I'm on this is my root one of my roots, but I already have a root up here So let's make this a different color I'll say so I have my pick in my mouth. So maybe I'm Not clear here, but so so then if we pick that one up we can go Notice that's a little bit more dissonance because that's the 13 But it's still within the scale And then I could say, okay, what if I picked this one up And I can go okay So so now I've got So now I'm revealing A g right so you can kind of so so you want to explore with the fingering And that gives you your little accents that you can add to this now you can also add other things that are in this This scale so or right so I can say, okay, I might say That this box for example, let's say Copy paste this box down here I see As something I can I can kind of noodle around with And so and I just want to point out also that you you can when you start to see the scales We're look at note that we will talk specifically about the scales in future presentations Both the major scale and the pentatonic scale what we're doing right now is looking at the C major scale In the format of the creation of its components The chords all of the chords that are constructed in the C major scale in open position And remembering keeping in the back of our mind that if we were to map out all of these chords On the fretboard we would basically end up with this colored blob Which is the C major scale So note it's useful to be thinking about the C major scale or any scale multiple different ways So right now we're looking at it in chunks in the chords that are created from it And then in the future we'll we'll look at it in terms of the scale construction itself Now some of the pros and cons when you look at the scale construction itself We usually learn the scale by just playing it up and down You can't really get away from that because that's how you kind of memorize the scale and that's great But one of the problems with that is that when you're when you try to apply it musically Like you're trying to play something like this d minor and then you're trying to insert a scale into it Then you play something like this and then you play something that sounds a lot like a scale, right? Which would be done done So you start to make it a little bit more musical right, but it still sounds a lot like a scale So until you get good at kind of playing different little lines within the scale It's often useful to also think about your scale in terms of these chunks of chords Meaning you you don't actually have to play the entire chord I can play pieces of it, right? I can start to lift up my finger And start to think about this as a position that I can that I can build around and what you'll end up doing In that method is picking different chord shapes, right? So if I think about this as As this shape and I'm like, well, I know that I played the c before the c looks like that And the c those notes in the c if I go over here Are are still okay. I can play those notes So what if I was playing like like my d and I'm seeing a as the home And then I picked up like these notes, but I'm still holding down this finger I'm not really playing a full normal c because I'm using this finger as my pivot and I'm like, okay, what if I did that? And then I pivot back over here, right? So you might start using like a finger of the chord shape you're on As basically a pivot point I can look at my f and I can say, okay I know that f all those shapes are all those notes are legitimate So if I was playing like a d I could see that little pattern right here That's Interesting little pattern. Hopefully I didn't do anything wrong. It's hard to hold my pick and So if I'm playing my d minor down here, and I'm like, all right Well, I know that, you know, like this whole shape right there works so I can go down So now I'm just moving my finger up I don't even I'm not even going to define what I'm playing right now But I know that all those notes should work and I can kind of play and say, okay Does that work if I epigeated there? Does that work if I move this finger up here? I still have my finger on the root of my d minor down here, but I can still kind of move it right there And then I can look at my g and say, okay, well the g looks like this What if I try to I'm keeping my d minor as the as the root and I'm like, well, then there's a g So I can play all the open strings and then I've got these two up top and these two down here That's an interesting little thing down there. I can say well that means that these two strings are illegal and the open strings are illegal So I can start playing I'm going to keep my pivot finger here and I can start to play up here Those that's the that's the essence of my g But I'll keep this string down here and that should all still work, right? Because I might not know exactly what I'm playing but I'm just using this as my pivot and I know those are legal strings These were legal strings from the f these were legal strings from the c These were legal strings from the g so and I'm keeping this as my pivot point, right? So I'm gonna Right and so then I can and so instead of me thinking of it in terms of A pentatonix instead of me thinking of it in terms of the scale Notice I'm thinking of it as pieces of the other chords that I know are fitting And I'm just using the notes that are in those chords because those notes are all in the key of c, right? Or I can use it this way and I can think of it as a scale But instead of playing just up and down the scale I'm going to say well these blue notes are in the scale see that those are the same notes that were in the g Right So these notes that were in the g these bottom notes I said I can play that one I can play that one in the open one is always Legal so I can think about it this way too. I could say well, there's my d and I know that this this Are all legal and I'm going to use this as my pivot point still so I'll just try to keep that finger down That allows me to do hammer-ons And then I can I lift it up sometimes to let that string ring out and I could use this string too because This is also legal so I could go back and forth between See how that finger allows me to do a hammer-on right there and I could do a hammer-on to this one I know uh, the these two are legal I know that you know all these three are legal strings So you can start to kind of play with it that way I know that like if I look at it as a scale this way I can say okay These these are are legal up top And there's my uh d so I want my Open d. This is where I usually do Like I might do this finger. This is where I like that shuffle pattern. So I might just take part of this I could take this and say That's legal All that's legal So I can start to like noodle around and try to expand in my mind what I'm playing with by just thinking about it Uh, you know different ways different ways that I'm kind of exploring With my finger and I'm trying to look at it different ways in my mind So I'm looking at things from different angles so that I and all those things will start to kind of mesh together Uh when I do that now also just note that uh when you When we when we get onto the scale most of the time I learn the the pentatonic scale in the middle of the guitar So that's what all basically so we'll learn in a future section the pennant the pentatonic and major scale starting That's the classic kind of shape In the middle of the guitar and that the nice thing about that Is that we we could start to play around with this right so I can start So when we get to that point what'll end up happening is you kind of know this Back part of the guitar with open chords, which is great because that's the fun stuff to play And you can make songs from it and then we'll learn You'll probably get to your home bass from a pentatonic or scale standpoint from the middle part of the guitar And then we'll we'll go back And expand that pentatonic and major shape back here So that we'll now revisit everything that we just did right here reconstructing the scale But now looking at it from a different angle the pentatonic and major scales So we'll revisit it and then when you start to move your shapes up in a caged position Up this way, which we'll talk about after we talk about the scales You'll you'll net then then you'll revisit These shapes that you learned from a pentatonic position You learned from a scale position and we'll rethink them in terms of Chords of chord shapes right so that's I think that's the natural progression That's kind of the most fun to play with right you learn the chord shapes in open position And then you learn the scale in the middle of the guitar Because that gives you the most ability to grow and explore both to the back of the guitar and the front of the guitar And then and then we go back and we learn the scale learn the scale shape As another way of seeing the open position of the guitar and then we take our our chord shapes and move them up As another way of understanding The upper end of the guitar that we basically primarily will only know By the scale shapes right so that and so and then this little stuff will all kind of blend together Is the general is the general idea now remember the pentatonic shape is up here And it's the same thing except we're removing The two notes the four and the seven so note that this is the pentatonic shape in the key of c So not all the notes are going to basically fit in the pentatonic shape Of the key of c because we're playing the d minor so note that the pentatonic is useful because If you're switching from chord to chord and if you're playing with other people these notes Eliminating these notes those are usually the notes that might clash right so so that so it's useful to learn the pentatonic It's also easier to learn that shape. So a lot of times if you know the pentatonic You might say okay, I'm playing the pentatonic shape here And then I'm going to add the note that is missing if I want to write that note that d Which is an added note when I'm playing that that d minor Uh on that d minor so like if you were playing for example A chord progression that's going from a c to a d or something like that a d minor Then then if you want to accent Going to the d minor You know, you might play you might be using the same pentatonic scale over both of them But then you might have in your mind that you're going to pinpoint that F that you're not really using when you're on the one So we'll again, we'll talk more about the pentatonic later But right now I'm going to I want to focus more on the majors because the idea would be That when you put all this stuff together, you're going to be constructing this blob of the major scale once you have all these chords That are put together now We also saw that we can move this up the fretboard and also note that if you construct this on top of each other Then You've got you know, the major scale underneath that was in blue We put the pentatonic on top of it and then we put this on top of that this chord Fits into the major scale, but not perfectly into the pentatonic scale because it's the pentatonic scale for the key of c If we constructed this from the key of D minor Then it would fit right that it would fit in all three related scales To it, but we'll talk more about that later And then uh for now i'm going to unhide these Right click and unhide And i'm going to hide from d Over here right click And hide this So so now We're mainly just looking in the open position here So we had this in open position But we want to just explore the idea that we can move these shapes forward which we'll talk more about later And that gives you more kind of things that you can kind of pick around with as well So like if I move this d i'm looking at the shape. There's my There's the d shape Root note and if I move that up to an e it's right there on the fifth so I can move that shape up to the fifth And now I have and so when I do that I can also explore my fretboard and start to say Okay, wait a sec all the notes that are here Must also be part of my d of my c major scale So when I start to noodle around like if I was to noodle around with my open position d here's my open d string and i'm I'm gonna say And my open d Here and then i'm gonna go back and forth From my f right i'm gonna hold down This a and then i'll have that open d ringing out like this And if i'm using this kind of shuffle pattern And i'm just trying to build from there then and say what else can I do well I can do this I can lift this finger up I know that these notes are in the Are in my d so that's this note. I can hit that note when i'm doing my show Right, I know though. I know those work I know I know that from before that I can use my f position like that and that works so if i'm doing my So now i'm just grabbing the one above it I can grab both of them at the same time I can let go I know I can grab this g I can grab all three of them, right? And then I know then then when I move this this up To here I can say oh wait. I can grab this string too so I can go Right and I can start to expand. I'm just trying to think about okay What can I I'm gonna pick a position and then I'm gonna try to expand on it I'm using this is my pivot point and I'm just gonna say well What can I do from that little open position? And that starts to allow me to explore You know the guitar from right there notice that we also said when we had the f when we had the f position We saw that we we can move this up. This is actually a a bar chord An e bar chord, but it's the f open position and you'll recall that when we are in the f open position That we can move that shape up Uh as to the fifth which is here which is the g so that shape can be moved up here So if I look at that and I start to expand my thinking it's like okay. Well wait now that means all these notes Are also in the c major scale right so I can so now I can start going okay. Well that means like if I play this I can move up to here And then I'm basically playing that that f shape which is basically an e major bar chord shape in it in this format But I'm still using this fingers like my pivot And it still should all be good Because all because the open notes in the key and I know these three notes were in that g shape So I should be okay to play that That also means that this note was okay to play Actually, I don't have that note, but that note is okay to play So see I'm just I'm just using this as my pivot and trying to explore I can also use Like this is the classic pivot finger in open position because that's where your c is that's where your f is I'm just pivoting around this finger. I can I can use that as my g pivot Right and I can do that. I can do that same thing Using this as my pivot finger It's just so I'm just because it should still work in the key of c right I could do this And then basically play that c shape, but now I'm holding this finger down one string Here's the g shape. I won't even try to I could finger this one But I don't necessarily have to Back to the d shape It's also kind of fun to just explore with this open d string and just follow What you can do with that while keeping that open So notice that this strings below it below that d if I just mute everything else and I just follow this string That's legal. That's legal. That's legal and that's back to a d right there So it's kind of you could So I'm just playing those two strings and then this is a double stop two d's right and then back Back to the d minor fold Right, I'm just follow. I'm just playing the d on top back to two d's and then back Back to a full d minor. So that's kind of fun To do and you'll see you can we can do a similar pattern with the other minors right when I get to that the other minors can be an a and then An e and you'll have similar those open those open strings are kind of fun to play with so just Quick other note is that if you were playing in Let's let's I'm going to unhide Unhide here and this is in Uh Now notice if you switched to the d minor that's related to the f major. So let's go over here and say This is going to be the D minor Okay, I have to unhide some cells here. I have to unhide these right click and Oh, no, I hit them wrong way right click and unhide So then I'm going to hide from 12 To the minor over here and then right click and hide So so if you were to switch here to be in the key of d minor Then you could still obviously this shape will still fit in the key of d minor But then when you move the shape up you can move it to the 1 4 5 in the minor Which uh scale so you have to kind of keep that separate in your mind Are you playing in d minor or in this case? We've been playing in dorian Notice that the shape will be the same, but if I compare that Uh to the shape above it Let's do that by going uh hiding from here To here let's go to here right click and hide Okay, see see this shape still fits down here. We're still we still have Uh our fingering Down here in both shapes But it's a different uh, it's a different scale around it right this second you could see it on that second bit So you have to kind of so you kind of have to keep in your mind, of course What you can move the shapes up, but you have to say what scale am I in to move it up relative to And if you change completely to A different scale then the notes around it even though this shape fits in it Fits in either of these two shapes Of the shapes will be different depending on whether we're playing it in relation to The c major or uh the d minor So you kind of you could switch it in your mind if I was playing in c If I was playing a c and then I switched to the d the two chord in a c major construction I could switch it entirely in my mind and say now i'm going to be thinking about this as though i'm in The key of d and then you can noodle around this chord with the notes specific to the key of d minor Or you can say this chord fits in the key of c and if i'm going to embellish it at all I'm going to embellish it with other notes that are also in the key of c which will make it Sound more like aligning to the tonic if c is your tonic Whereas if you use notes that are not in the key of c but are specific to the key of d minor Then it'll sound more like you're doing something different. It'll be a little bit pulling more Uh away So that that's that's generally it. Let's put the worksheet back to Where it was before and then next time we'll talk about uh We'll talk about the the intervals which is always exciting so I'm going to hide the uh The numbered ones So i'm just going to hide these Hide that And hide from here To here right click and hide that And then so that's good. And then i'm going to go back up top and hide from Four i'm going to unhide the minor right click unhide So I can hide from position four Over to the major Right click and hide And then i'll expand this back out So so next time we'll spend our time Looking at the intervals and the different numbering systems With this with this one