 Guitar and Excel. Open chords, C major scale, F major chord and intervals. Get ready and don't fret. Remember, the board's already totally fretted, so you need 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 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 our scale and related chords we're focused in on. If you do have access to this workbook though, there's currently four tabs down below, two example tabs, an OG tab and a blank F tab. The OG tab representing the original worksheet we put together in a prior section. It now acting as our starting point going forward showing the entire fretboard, giving us the entire musical alphabet. We then numbered the entire musical alphabet showing the worksheet and the key that we put together to be able to construct the worksheets on the right, giving us the scale that we are focused in on as well as the chords that we're focused in on. We then copied the OG tab over to focus in with this section on the key of the C major scale looking at each individual chord and its location on the open positions. So we started with example C tab over here, which is showing then the hiding of most of the fretboard just showing kind of the open positions from zero fret to three fret. So we can see how to finger this. We then put right next to it our worksheet, which is showing us our scale as well as the chord that we're focused in on. And then we show the chord 135 positions in such a way that we can see how to finger it. We then looked at it in terms of the scale as well the pentatonic scale than the major scale and so on. We're now continuing to do that with the key of F or not the key of F, the key of C, but the chord of F major chord. So we're going to go to the blank tab on the right where we started this process last time and we'll be continuing in this process this time. So we copied this over from the OG tab. We once again hid most of the fretboard. So we're looking just at that open position, put it right next to our worksheet noting here that we're still in the key of C. So our overarching goal map out the entire C major scale on the fretboard in open position, open position, which I'm defining as frets zero through three. So in other words, everything that we've been putting together in this entire section is coming from notes that have been pulled from the C major scale. That's useful to keep in mind because if you put all this stuff together then what you would have done is mapped out the entire C major scale on the fretboard. However, we don't just want to see the C major scale on the fretboard. We want to see what are the useful things that we can construct from the C major scale and some of the useful things are of course the chords. So this time we're looking at the four chord of the C major scale. We constructed it from the C major scale and that's going to be an F major chord. Now we want to take a look at some of the different intervals and numbering systems to get a better understanding of that because they could be quite confusing. This is often an area where people kind of struggle or don't want to spend their time because they want to spend their time playing, of course. But if you spend like 15 minutes to a half hour, I like to do it in the morning while your brain is still working. Then when you're just strumming around and playing what you want to play, you'll at least have your mindset in the right position. So as you're building your muscle memory with your fingers, you'll also be building a little bit of your mental understanding of what you're actually playing. So that's what we'll do this time. So what we want to think is we're in the C major chord. We're in the C major scale, I should say. We're in the F chord, which is the four chord of the C major scale. So let's go back and just recall how we construct the C major scale. If I go over to the OG tab, you'll recall that we have all of our notes here. Now it's difficult to actually say the notes in the musical alphabet forwards and backwards when we add the sharps and flats, which is why as we're doing here, we often focus on the key of C, which I think is what actually happened in history, right? They looked at the key of C and then they built from there and that's why they put the sharps and flats maybe in between the key of C, which is kind of a messy kind of thing, but it works out, you know, and that's the tradition we have. So it has its pros and its cons. But when I try to go up and down the musical alphabet, A, A sharp, B, C, C sharp, D, D sharp, E, and then there's no sharp to F, and so on up to the G sharp, which is the 12th note. If you try to count it backwards even, then just counting the alphabet backwards is difficult for going G, F, E, D, C, that would be hard enough. But when you add in the sharps and flats and you try to count backwards and forwards and then you try to remember whether or not you have to say a flat or a sharp as you're spelling out something, that all adds a tremendous level of complexity. If you number the system and we just say an A is a one, an A sharp or a B flat is a two, a B is a three, a four is a C, a five is a C sharp or a D flat, then you have the ability to count up and back very easily. Most people can count backwards in numbers quite easily and then we have the math that we can do with the intervals. So I highly recommend memorizing the number of the notes and I will call these the absolute numbers because every other number that we use is relative. It's relative to something like the scale or the chord that we're looking at. So that's the first thing I'm going to recommend doing. You can not do that if you don't want to. I'm not saying that the sharps and flats aren't useful because that helps us to spell out notes that have all the letters and the alphabet in it and whatnot. I would learn both, right? As you're learning everything, I think it's pretty not too much added memory to learn the numbers. Then we constructed our C major scale by starting on the key of C, which is an absolute number four if we number them. And then we went up a whole step, whole step, half step, whole step, whole step, half step. When we define what a whole and half step is, a whole step is just two notes. So it's actually two notes and a half step is one note. If you look at that on the fretboard, then if I was here, a half step would be just one note up. A whole step would be two notes up. So the formula for us to get a C major or any major scale is we start on the root and we apply that formula. And so I'm not going to get into why the formula is there. That's an interesting question, but that's the formula we use to get to our C major. So how do we get the notes in there? We go from four to up to five, six to get a D, two notes up to get from a six to an eight, which is an E, one note up to get to a nine, which is an F, two notes up to get to an 11, which is a G, two notes up to get to, notice it goes to 12 and then around the horn back to one, because there's only 12 notes. And then we go two notes up from one to three to get a B and then one note up to get back to the tonic or the root, which is a C or absolute number four. Okay, so that's going to be, when I look at this worksheet, we're mapping out our scale now with just seven of the 12 notes, which we can see here, seven of the 12 notes, and we're starting with a C. So when we're looking at this numbering system in the C major scale, we're saying the C is the one and the four is the four of relative to the C major scale. This is the four relative to the C major scale. This numbering system to the right, you'll recall, is just simply still just one through seven, but the Greek letters allow us to see whether or not it's going to construct a major or minor scale easily. And the way we construct a major, any of the notes is we just take every other note and you'll see that the intervals will change, and we'll see that when we get to a minor. So it just so happens that if we just take every other note, which is generally what we do because if you pick the note right next to it, like two notes that are right next to each other, there's too much dissonance, it's too close to each other. So usually that's why we kind of pick every other note, and that's, or one reason at least. And so that's the process that we do. And we end up with chords that have intervals that are similar. So, and then we can map those out and say, well, this one happened to create a major, this one a minor, this one a minor, this one a major, this one a major minor, and a diminished, which we'll talk about in its own kind of thing, but you're usually focused on the majors and the minors. So the reason we went from the one to the four is because now as we will see when we map out the intervals, we'll see some similarities between the intervals between these two, because they're both major. And then we'll look at the differences in the minors. So it's useful then when you're strumming around in the evenings to kind of pick around on just the one, four, five, and then pick around on the two, three, six, which means you'd be playing in a different, you'd be playing like a minor, if you'd be playing, you could, you could play in the minor of the six, but we'll talk about that later, because then you'll, then you'll start to be seeing the same patterns, which will start, will build in your head when you plant the seed of looking at this stuff in the mornings for like 15 minutes, right? That's a general idea. So we're down here on the four. Now the problem is when we look at the four, when we name this, notice how we constructed this. We took the F in the key of C, the C is the one, but the F is the four. And then we took every other note to get to the A and then to the C. So you would think I might name this the four, the six, and the one of the C major scale. And you could, you can see it that way, but we don't usually do that. We call it the 135. We still use these names. I'll make this a little bit larger of the 135. So, so why do we call it the 135? Because we're naming this relative to its scale. So in other words, if I went to the F scale over here in the OG tab and I changed this to the key of F, which is a nine, absolute number nine is an F, then now you can see you still get the FAC. And now it is in its own key, the key of F major, the 145, the 145 of its key is FAC. But I get the FAC over here, but I built that from our C major scale. So that's the, so again, that's why I get into this, the relative numbering system. You got to say, well, when I'm talking 145, I'm not talking about that relative to the scale. I just built it in, which is the key of C. I'm talking about it relative to its major scale. Now, luckily, we don't have to go over to the OG tab over here and map out the major scale to do that. Because the other way we can discuss the 135 is by saying of the scale is by saying, well, I know the one is the root of it. And the three has an interval, which will be the same. In this case, if it's a major interval, it'll be four notes away or a whole step and a half step. And then the C will be seven notes away from that first note. So we'll kind of define it by the intervals is the general idea. So that's what we'll look at now. So what I would do is just pick up the guitar in the morning, I'd use my worksheet as a crutch until I can basically finger what I want to finger without the worksheet as a crutch, right? And so you could finger it this way, you can finger it this way. And remember when I say that this is an open position F, you also want to keep in your mind that this is not, in one sense, it is an open position F because it's what you would play in the first three frets, which I'm defining as the open position for an F. But in another sense, it's a bar chord. And that'll be useful when we start to think about the cage system and moving up bar chords because we're basically taking this E position here and we're moving it up to here but then barring off so I have to change my fingers to bar that off. So we're talking about basically an E major bar chord shape, which is what we need to use to play an F because there is no open position F from that sense. So even though you can still think about this as kind of like an open position F, we can play it this way and we can play it this way, which I think is a quite comfortable way to play it and we can play it this way. So let's go ahead and then look at each of these notes and map out the intervals for it. Let's say we were playing like these three notes first, like the kind of easy way to play the F. Now the advantage of this one is that the F is now the lowest note, so this is often a good way to start mapping something out when you're looking at the lowest note being the root because that makes it easier to look at. I say, okay, if that F is the root, you'll notice that the third is right down one and back one, similar to what we saw in the C major scale. And then we have the fifth down here, which is just down one and back one, but that's because we're in that funny interval between these two strings. All right, so then if I go to this first one, I will generally start to just kind of name this out just so I can try to get the numbering system in my mind. I'm going to say this is the relative position one of F, which is an F or a nine. So I'll call that out relative position one of an F, which is, of course, an F. And then I'll go to the next one and say this one right here is going to be relative position three. Let me copy this over here. I'll call it relative position and notice it's a four note away because this is the third. The third is the differentiating factor between a major and a minor. So you can say it's four notes away, which is going to be like two whole steps, but I just think of it as four notes. So I would say this note right here is the four note away, major third. I'm going to define it as a major third to differentiate it from the minor third, which is not something I had to do with the one because whether I was talking about an F major or an F minor or any other mode of F, the one of it would always be an F. When I go to this one, however, with the third, I need to indicate that it's a major in some way. So I at least need to say it's a major third versus a minor third. But I will further differentiate it in my mind to tell me why it's a major third because it's four notes away as opposed to three notes away. Notice how we constructed it. We still just took every other note in the musical alphabet. You could think of it from here or you can think of it from the F. But there's a difference in the absolute intervals in terms of this being four notes away versus three notes away. So I'm going to say that's a four note away major third of the absolute note F, which is a nine. And then I can do my math and I can say nine plus four, nine, ten, eleven, twelve, thirteen. Notice I get to thirteen when I do that and there's not thirteen notes in the musical alphabet. So I can pull out my trusty calculator here and you don't need a calculator to do this but I'll just want to show it in the calculator for now. Obviously if I say, OK, wait a second. If I was on absolute position nine and then I added four notes to it, that gets me to thirteen. There is no thirteen notes. There's only twelve. So what you would do is subtract out twelve and that gets you to note number one, which is an A. Now oftentimes the easier way to do that I think would be to say if I'm on relative position nine plus I want to try to get to the major third, which I know is four notes away. So I could say plus four is going to get me to thirteen. Anytime I'm in the teens, anytime I'm above twelve and below twenty, the easiest way I think about it is just dropping the one, meaning minus ten, gets me down to three and it's always minus two, right, because there's twelve. So minus, and then I say minus two. So in my head, I think the shortcut way to get there the fastest would say, OK, I was on a nine and then I said plus four because there's an interval of four, that gets me to thirteen and then I just drop it down to three in my head, which is like subtracting ten and then I always just take that minus three, minus two is one. And so if you, that sounds quite complicated, but if you do that a few times you'll start to see that'll start to be relatively easy to do and that way it's easier to get to these positions by counting the intervals. Now I just want to point out as well that if I took this A right here when I say it's, I'm sorry, if I take this F right here and I say it's four notes away, you could do it this way, one, two, three, four. So if I counted up here, that's an A right there and I know that this one down here, that is an A. So notice you could start to see the relative positions in the guitar, right? Because the A, if this is an A, it's one, two, three, four, five frets up and then five frets up the fretboard and one fret above gets you to the same note, right? And I'm not going to talk about octaves and whatnot right now, but just in terms of the tone of the note, that's the same note. So, but obviously we're trying to play this in one position here. So in one position I can remember that that note is going to be down one and back in every string except the funny relationship between these two strings. Okay, so and then this one, I'm going to go to this one and say this is going to be relative, let me go down here and say this is going to be relative position and I'm going to say it's a seven note away fifth. Now when I say it's a seven note away, notice I did not have to say that it's the seven note away major fifth because there is no difference on the fifth between the major and the minor as there is with the third. So I can just say it's a seven note away fifth and that will be the same whether I'm playing a major or a minor. Now remember when I say it's a fifth, that means it's a fifth of the scale. I'm not talking about this scale because this scale is the C major scale. So when I say it's the fifth, I would have to say it's the fifth going to the OG tab of this scale. So the F scale, it would be the fifth, which is a C. So that's where the C is. But obviously I don't normally do that because I don't want to bounce back over to reposition my mind to another scale all the time. I can say, yeah, it's the fifth of that scale, but I'm looking at it in terms of intervals of what I'm playing on. If that's the one, then the fifth is seven notes away. It's the seven note away fifth. So I don't need to go and create the other scale to see that it's the fifth over here. I know that if it's seven notes away, it will be the fifth. And of course, we constructed it the way we constructed over here so we can see that kind of intuitively as well. So I can say, all right, that's the seven note away fifth. So if I did that, it's the seven note away fifth of note nine F. So I'm going to say, all right, well, what does that mean? Nine plus seven is going to give me 16. 16 minus 12 gives us the four. See how we went over 12 there? So in my mind, I would think about it this way. I started on an absolute number nine, absolute note nine, plus the interval, which is seven to get me to the fifth. And that's going to be 16. And then I just dropped the one because I'm somewhere between 12 and 20. So I'll just drop it to just six. And then it's always minus two, six minus two, which is easier to do in your head than, you know, 16 minus 12 generally. So now it's just six minus two. And that gives me my four. Four is the absolute position for a C. Now, again, you could do it this way. I could say, OK, well, if this was an F, I can go up seven notes, right? One, two, three, four, five, six, seven. And then I get my C up here. And that's great to understand, but that's not going to really help me when I'm trying to play in this position. So it's good to map it out that way. And you could start to see, well, what does it mean when I go? Like how many notes up to get me back to like a whole step or a half step from in the same position when I go up a string? You can start to kind of mold that kind of over in your mind. But so there is that one now notice. So there's the C. So if I did that, let me do that a little bit faster now. So I'm going to if I was doing this without the crutch of the worksheet, I'd be saying, OK, there's a nine, which is an F. And this is relative position one of note nine F, which is note nine F. And then I would look at this one and say this string is going to be relative position. The string is relative position four note away. Major third of note nine, which is an F, which is four plus nine. And so I'd be like nine, 10, 11, 12, 13. OK, 13. I'm just going to drop it to three. And then three minus two is one. So I'm thinking in my mind 13. OK, then I drop it down to just three minus two. That gives me my one, which is an A. And then I can and then I can go, OK, what about this one? This one. And if I'm thinking about that is the seven note away, seven note away fifth. And I don't have to say major or minor because it would be the same, whether it be major or minor of note nine, which is an F. So that's going to be, OK, nine plus seven. So nine plus seven is 16. I drop the one or subtract 10 from it and then minus two, minus two. Or you can think of it as, OK, seven plus four. What did I do? Seven plus nine minus 12. Same thing gets you to the four. OK, so then, of course, you can add this one and you can start thinking, what if I add this one on top and I play it like this and you might map out the intervals in your mind separately. You might want to do that first, right? I can say, well, where's the root? The root's right there. And then I know above that, just like with the C, if I go right above it with every string except for these two, that's going to be a fifth. So now I've got the fifth, I've got the one, and then this position where it's always down one and back will always be the third. So then I'm going to say, OK, and that's a major third I can see. And because of the funny position between these two strings, this one going back just one where you would think that would be like, is the fifth. So I'm going to say, OK, that's the fifth. So relative positions, five, one, major third, fifth. And then I'll map it out this way again and I'll say, OK, this is a five. This is a seven note away fifth of note nine, which is an F and seven plus nine is 16 minus 10 minus two, gives me to the four. This is the root. So this is relative position one of note nine, which is an F, which is, of course, note nine, which is an F. And this is the relative position. This is the relative position four note away major third of note nine, which is an F. And that means that nine plus four gives me 13, dropping it down to just a three minus 10, gives me three minus two, gives me one, or I can say that it's nine plus four minus 12, gives me the one, and then I can say again, this one is going to be the seven note away, another seven note away fifth, seven note away fifth of a nine, which is an F, which is nine plus seven. So again, nine plus seven, 16, dropping it down to a six minus 10, and then subtracting two gives me to the four. And then I can do the whole position, the whole bar chord and map this out. And again, it's really useful to map out the intervals because when you look at this full bar chord, then it's useful to know what's the one three fives of this bar chord. And then I can say, okay, this one is always the root. So that's relative position one. This is going to be the fifth all the time. So that's a really useful interval to see from here to here. That's the fifth. So there's, and I'm going to call it a seven note away fifth. And then this is going to be the root again. So notice I have two of the root here. So I'm going to say that's relative position one of note nine. And here now you see that note again is the third. So I'm going to call it a four note away major third. And then here I'm barring this off now. If I can get that bar to work, it would be right there. And that's going to be the seven note away fifth. And then this is going to be another root, another number one if I was able to bar this off. Now it's useful to see that because notice if I was just able to play these four to wring it out, I have to get down to this a in order for to at least be an F, an F, right? If I don't get these last two to wring out, I'm still okay. And that at least it's an F because I got that. I got all the all the relative notes in there to do that. And then again, I would go in here and just list out the the intervals one at a time. I think that's a good exercise. Now note you could continue to do that with like the notes that are in the major scale. And it gets a lot more confusing. But a lot of times you're like, okay, if I'm playing this, where else could I put my finger? Right? I could open this finger up. What am I doing when I do that? Right? If I open this finger up on a major and I'm thinking of myself here and I open. I'm playing. I'm playing like this, having trouble visualizing this. And then I open this one up. Well, then I'm revealing a D. Now, what is a D? That's actually the 13 when you're thinking of the about it relative to a C major scale. So you could start to do that, but but then it gets a little bit confusing when you go outside of the position three, five, because the seven, nine, eleven, thirteen in this case have been constructed from the C major scale. So they'll actually change then as to whether you're playing in positions, you know, one, three or five of the major. So so we'll talk, we'll talk more about that later. But but for now you could do that. You could start to map out and say, well, what's the interval between like this D and the root here and you could build chords and see how it works. Just remember that as you do that, you can't say that that it's going to be absolute necessarily in that all major, the 13 is all going to be the same because again, those things will kind of differ. The seven is the classic one that the next one you'll pick up generally. And when you look at the seven, there's a difference when you construct the one, the three and the five. So then these intervals that we put up top are really only the intervals between this first, this first row here when I these intervals are have been built from this first one note. So once we start doing like the miners will see that this interval is not, I'm sorry, this interval is not the minor interval. It'll be three. So then we'll have to see which of these things are different. The interval is different on some of these notes than on the one note. And we'll see that in the minors with the three and you'll see different patterns when you get away from that you start looking at the seven. For example, you'll note that when you're looking at a major seven, the one and the four have an interval and the five has, you know, a different interval. So we'll start playing with that later. But if you want to kind of play with that now, I just want to point that out.