 Guitar and Excel, C major, A minor, scale fret number five, targeting the F major chord. Get ready and some coffee because we're doing some guitar with Excel. And don't let people tell you using Excel for guitar is uncool. Remember, when someone says you're really, really, really uncool, they're probably just trying to tell you that you're like super hot. That's what I'm talking about. Or maybe not. But whatever. In any case, let's rock. Let's rock. 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 did so in 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'll simply use it as a tool to map out the fret board. 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 11 tabs down below, bunch of these example tabs in green and then the OG Orange tab. 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 fret board, giving us our entire musical alphabet and letter format, number format, combining letter and number format, providing a key that can be adjusted with this green cell, adjusting the musical key of our worksheets on the right hand side, which provide us the notes and the scale that we are in, chord constructions from the notes in those scales, interval information and more. We then wanted to look at the C major scale and think about the chord constructions in open positions. That's what we started with. We started with the I chord, the C chord over here. We mapped them out in open positions defined as frets I through III, discussed it in detail. We went through the next chord, jumping up to the IV chord, because that's going to be another major chord construction. That's the F major chord. We then went to the V chord, the G major chord, back to the minors, the D minor chord, and then the E minor chord, then the A minor chord, chord VI, and then the diminished, and now we're working on the scales. If I go back to this worksheet, note last time we then thought about the scale information. We've basically mapped out in open position in chord format the entire scale if you were to put all those chords together, because it would basically make this shape in open position, because everything was constructed from this scale. All those chords were constructed from that scale. Now we're moving to the middle of the fret board, and we're learning this part of the fret board, not with the chords per se, but starting our learning process with the scales first, and then we'll expand on that, bringing the scale back to this position, and we'll also look at these chords and bring them up to the scale position. We talked about up here. We talked about our classic pentatonic scale in fret number five, and we have only five out of the seven notes in there. It's a nice fairly easy shape to learn, and you can learn it with just basically these whole, these long and these short intervals. We then went down and we said, now we're going to be adding on top of that the major notes. So we have a bit more complex of a structure down here. These are all the notes and the major, all the colored ones, and then we tried to think about what if we wanted to tie this out to what we've learned over here? How could we do that? We talked about how we might do that if we're thinking of ourselves in the key of C, and then we can target those specific notes. Now we're going to move down from the key of C to the key of F. To do that, I'm going to make a new tab. I'm going to hold down control and left click and drag this to the right, and then I'm going to double click on this item down below. This is going to be a practice tab. I'm going to say it's fret number five, but this time we're going to focus in on the F. And so we'll have the same shape that we're looking at, but now we'll focus in on the F. I'm going to make that then blue. I will get to the guitar. I'm just trying to make it, if you're working on your own worksheet, just I'm just trying to show you what the changes are to the worksheet. So then we're going to be moving this down to an F. Now why aren't we going to the two for the same reason as when we did the ordering of our chords? I'd like to go down to the F because we'll see some similarities between the intervals because the third when we look at our major chord constructions will be will be four notes away a whole step rather than the minor thirds, which are three notes away. So we'll have kind of some similarities. Now here, notice that we've we've mapped these out with the C, E and G on that green, red and orange. Now I want to make those colors applying to an F, A and a C. So how can I do that? Well, I could go to the home tab, conditional formatting, and instead of just removing all the colors and redoing it, I could go to the manage rules down here, manage the rules. And then I can see, here's my yellow, here's my red, here's my, here's my green. So I'm going to put my cursor here, and I'm going to select the green area. And this time, what I want to do, actually hold on, that's not quite right. I'm going to I'm going to go out of there, I'm going to double click on this rule. And then I'm going to go into this area here and say this is going to be equal to and I want to make it an F now. So now that should change if I was to say OK, from to an F now. So now the F is the green, I'm going to take that and put that down here. The C is no longer green, so I can just say that that's going to be my, you know, normal formatting. Let's do that again. We're going to say boom, boom, rules change. And I'm going to double click on this one and say I want to change this cell to be equal to the A. OK. And I'll do these at the same time. It hasn't done it yet, but I'm going to change this rule first and change this one to be equal to the C. So I'm going to say OK. And then OK. And it should make the change now. Boom. And so now we have our A here. I'm going to say format paint. That's going to be my three. And then my C, I'm going to format paint this C format paint and bring that over here. And then I'm going to format paint this one and uncolor those up top. OK. So notice everything's the same here. We have all the same shape in terms of the complete colored position. However, now we have on top of it these three notes, the 135, which are related to our four chord. So I know all these colors can be kind of confusing. So just a quick recap on the colors. All of the colors represent the base layer as being blue. And they represent all of the notes in the major scale for the C major scale. The green colors that we can put on top, we layered those on top, those are going to be the five notes out of the seven, which are the pentatonic. And then on top of that, we put the notes of the F, A, and C for the F major on top of it, which doesn't perfectly fit into the pentatonic scale. Because remember, the only two things that perfectly fit in the pentatonic scale, or the main two that fit perfectly, is going to be the one and the six. That's why we think about this pentatonic scale as basically a major or minor pentatonic scale generally. So this F, for example, isn't one of the five notes. So it's kind of hanging outside of the pentatonic scale. But of course, it is still in the major scale. So that's going to be the general construction of this. OK, so then if we're thinking, so now we're basically thinking we have the same information over here, but now we're trying to play either in the key of C and then switch to an F and see how we can utilize and target these notes up top. So before I do that, let's just remember what the F shape is over here. If I look at the F shape, here's basically like an F type of shape. Or you could think of it as basically a bar chord. So let me just recap that. If I go back on over here, we're not doing this. This is our C shape. We're going to say the F shape. Often I'll play it like this, right? Duh, duh, duh, and then we'll go here and then. And so we basically get those four oftentimes. We won't ring this one out. And so we're on the F right there. That's kind of the easiest way to play it when you're switching from like a C to an F. And so the root note is here. The root note's not the lowest note there. You could play it like this so that the F would be the lowest note in that construction, but it's kind of easy and oftentimes nice to put your finger up there because then you don't have to mute more strings, and that's how you can play it. But remember that the F is basically like a E major bar chord construction. In other words, we didn't play an E major because it's not in the C, right? We played an E minor, but a major looks like this. You'd have these two fingers here and one down here, and this one is barred off. So if I wanted to see that from a bar perspective, it would look like this. And then when I move that up to an F, the F note is right here. So our bar chord F would be having this F barred off, and then we'd have one more down here if we can get that full bar and go boom, and put that down here. So you could play the F that way as well. Remember, if you play it this way, you've really got to bar it pretty tight to get down to this A. You need that third to complete it, which isn't too bad because you're actually fingering the third, so it's not that difficult actually to get that to ring out. But if I wanted to play just part of this, then oftentimes I'll do the shortcut way to do it, which is just basically easier to do as I switch from a C to an F. So that's gonna be that. Now also note that we're thinking of ourselves in the key of C. So if I'm thinking of ourselves in the key of C then, I'm also gonna hide the ribbon up top. I'm gonna say I wanna see full screen. If we're thinking of ourselves in the key of C, then when I'm practicing my F, then I could like center myself around the key of C by possibly starting on a C, and then put an F in there, and then move to whatever else, a G, and then back to a C. Or I can start to say, hey look, I'm gonna try to make the F the central point. So if I'm trying to make the F the central point, how would I do that? Well I can start on an F, and then I can play whatever I'm gonna play. A, maybe, then go back to the F. Now it's a little bit harder to try to make the F the central point than it is for when you're playing in the C scale to make the C the central point, or the A which would be the related minor. But that's gonna be the idea so that she can basically focus in and practice on this F and still be learning all the same chords here. If you actually switch to an F major chord, then you would be switching to it as the one chord and your whole fret board will shift, which we might talk about a little bit. So let's go, I'm gonna hide some cells to the right. So the F, notice over here, if I built my worksheet here as though the F is the one, those worksheets are on the right. So let's go to the right. I'm gonna hide this over here, and go do do do do do. There's the door in, there's the fridge in, and we have then the Lydian. So I'm gonna hide this, right click, right click, and hide. So we would basically be playing then as though we were in Lydian if we were to do that. So you could realign your mind and say, well now I'm gonna make the F the center point, but I'm gonna use all the chords in the key of C, and you can think about it that way, or you can think about it as, I'm gonna rearrange it to the F being the one chord, but I'm still using all the same chords, and that would be playing in Lydian. Now it might not be as important to rearrange this as it is with like the minors, because people are gonna be talking about minor chords, or the minor scale a lot more than they might talk about the Lydian scale. So you can think about it either of those two ways. That's gonna be how we're gonna be working here. So the question would be, okay I'm gonna kind of try to make this the one chord, and I'm gonna think about it. I'm playing around the four chord of the C, making it the one chord, which means I'm basically playing it in Lydian, and then how can I play something in here, and then pull in my notes from my scale position up top. So one way we can do that is we can say, let's target all the Fs. So I can say here are my Fs, and so I can noodle around in here, and then target the Fs, right? So I can be looking and saying, okay, where are my Fs? I got an F there, and I have an F up here. So if I was noodling around, I could slide this in. So again, I'm not gonna take my fingers off necessarily, and then go back in here, because when you do that, what you'll tend to do is go, oh I'm gonna start here, and then go down to the F or whatever. You're always gonna start at the same point oftentimes, and you're gonna lose your space on the guitar. So I'll usually follow one of these fingers in. So this finger, nice finger to follow in, because that's kind of your pivot finger. So if I follow that in. So now I'm right here, and I followed that string from the C into that E. Now the F is right above it, so. So right. So then you can noodle around, and you probably are gonna finish off on the F, right? Or I can noodle from here, and then bring myself up to this F. So if I follow that string in, it's gonna land me right here, and then I can walk my way up in whatever way I want, but probably looking to end it off on this F, right? So I'm gonna be like, okay. Right, and you can see, you kinda get that resolvy type of feeling there, because you're walking it up to something in the key. So then I basically went back down and ended it here. So I'm just trying to start a phrase and end a phrase, just like we did before, but this time we're thinking of ourselves as in Lydian, or in other words, making the four chord, the F chord, the center or tonic point, and then we're trying to target that. Now the other thing that you could do is you could try to say, well, what is the chord construction in this position for an F? So I can target a chord construction. Now if I built one, I can say, okay, well, the minor third I know is down one and back one. By the way, if you were, most people were to say, well, here's an F, right? How would I build a major chord on that? Well, you'd probably go this way and you'd build like a bar chord to the right, but that's outside of our position and we kinda wanna get a little bit more flexible in our mind to not just think just the bar chords because there's a lot of other ways you can construct these shapes and you don't have to play them as a full shape construction. You can play parts of them, right? And that helps you with your kind of arpeggiating, just noodling around type of stuff. So I know that I can go back one and down one. There's my third and then the C is gonna be over here. So here's a C and then here's another F and then here's an A. Now that shape might look familiar. That's gonna be your C shape in open position, right? So if I went back to open position, there's our C shape over here. We're basically moving that C shape from open position and you have a similar kind of C shape over here. So that's nice and that's into the caged system. So I don't wanna get into the caged system in a lot of detail, but we'll get into that later. But it's nice to recognize that shape within here because then you can kind of deconstruct it and see how you wanna use it as your kind of noodling around. And just to kind of connect this, just so you can see the caged type of system, this is a E bar chord that we're using to play the F in open position. So if we were on an E shape in our caged system, the next shape over to make an F chord but the shape that would be in open position is a D. Now most people see of the D as these three notes. So you can see that's kind of like a D type of shape. Most people see that as a D type of shape. It's actually playing an F chord and it has the three notes in it. So we don't need to add anything else. However, if you think about it as that same D shape, we haven't played the D shape except a D minor for ourselves because the two chord and the key of C is a minor but the major would look like this. And then if you move that up here, but if you want that shape to make it actually completely a D shape, you'd have to do something like this and reach back and grab that F because when you play this D over here, you're also playing that open D which is the root. So that means the reason that I'm saying that is because these three shapes, although you can still see them as a D shape which is playing an F chord, you can also see it as part of the C chord construction because if I look at my C chord construction over here, you can see you still have those three shapes. And so just like we saw with that A, kind of the thing that most people see as an A chord as being between like an A shape and a G shape, this D fingering shape is actually the pivot point, the connection of the C shape and the D shape. So when you see that shape, when you see that finger, you're like, okay, that's the root and that should be able to pivot possibly over to like a C shape which will look like this. Here's our C shape. Okay, so given that, notice that this C shape isn't actually perfect when you play it this way in open position though because if I just play like these three strings which is like the C position, so if I move this C position I went up here and I'm leading this finger, I'm saying I'm following this finger up to that F and I've got the same thing. Well, one problem is that this string might ring out and maybe you don't want it to ring out, you could have it ring out because that would be the nine in this case but if you don't want it to ring out, it's pretty easy to mute it. You could just mute it with the meat of this finger and so you mute that and not a big problem. However, you're also missing one of the notes, right? Because you're missing the, I'm sorry, you're missing the C, the C here, right? Because you have two Fs. So you could play that and it's totally fine to do that even though it's not a full chord because you don't have three notes in it but you're really getting a F sound of it and you're getting the third from it. So if you were to play the F here, maybe you go to a C and then you go back to an F by going up here, it's still gonna resolve basically back down or you can play that and then I'll slide in with this finger again. So I'm sliding this finger up to get me at the E and then I'm gonna walk up to that F but when I get there, I'll play the chord from it. So I'm like, I'm gonna slide that up to my F and then I'll fill it out with those notes. And so even though you don't have the fifth, it still sounds fine. It still sounds like a full F and you can mute the string above it, mute here, mute here. And you can see it very clearly. So if you can easily see it back here. So this is an F to a C, F, F. So it's easy to move that shape up just the way it is. But if you wanted to get, if you wanted to get the fifth in there, you could pick this string up. It's a little bit of a reach to do. So you'd have to kind of switch the fingering and do it that way. So sometimes you might not actually do that because it is a little bit more tricky of a fingering. You might instead just use this or you might just be using these two fingers up here to get that feel at the end that you're kind of closing things out. Now also note that when we play that C shape, we can also play the string above it up top. So now we have this shape up top here, which is a nice easy way to close things out, which is these three strings. So that's an inversion because the F is now not the lowest string, but that's an easy shape to play right there. So you can be playing an F, C, walk in this and then close it out right there. So now I'm ending it with these three strings. Or if I played the whole position, if I'm playing those two strings, I can also still pull in my F down here. So here's my C shape. So here's my C shape. I pulled it in from here. I pulled it up here, but now I'm just gonna add my pinky up top. So now you've got the fifth on top, and that gives it just a little bit more of a full sound. And over here, it's important because just note when I play this C on this side, this C that I play over here, normal C position, I could add this G on top, but it's not as important and might not even be useful in that case because I already have a fifth over here and sometimes you might wanna make the C the lowest note. So some people, they always play the C like that. They grab that key, that note. But over here, when you move it up, then it becomes more important to do that if you want the full sound, right? That's one way that you can get the full sound. It's nice and easy. It's because you can get that fifth up there. Otherwise you have to grab, like I say, you have to switch your C position and grab basically the fifth down here, which is not as easy, although that shape is really useful to see the arpeggiating of the notes that are in there. All right, so then the other common way to play this is like this. So now you've got the root is down here and then you've got the fifth and it's staggered because of the change between these two notes and this one up here. So that one's pretty easy to play. A lot of people like playing that position because it's a nice comfortable position. All of these are basically being drawn from that C major shape. So there is that. Now the other thing you could do, of course, is target notes that are in the F. So if you're not targeting the F major, you could target the third. And so if you're doing chord switches from like a C to an F, when you go to the F, you might target that F. That's one thing you can do, of course, or you might target the notes that are in F. Or if you're playing in or around the four chord, making it the tonic in essence, playing in F lydian, then again, you could when you're kind of newling around and going between chords, you might move into here and go boom, I'm moving into this position and then I'm targeting that A and I know that A's up here. So I could be like. That low one sounded a little too, almost too low, right? Because it's lower than the, it's lower than the root, I think, but. So I'm trying to end on basically this one. Back to here. So you could end on the third. Now it might give you a little bit different feeling, of course, because then you'd had with the majors because now you're playing in the lydian mode, but then you can target the C, so we have the C. So when I'm working in, when I'm going to the F chord, I can still target that C, which we saw was gonna be here, here, and here. So I'm probably looking at that C kind of in the middle right there. And so I'm like. You know, I'm just going. So now I'm targeting the C and then I could, and then I could, and notice, remember that the third's probably gonna give you more emotion, the C is kind of like a more stable kind of tone that is a filler that kind of gives you a more solid feeling, but not quite as much emotion oftentimes with the chords or at least that's how I kind of see it. And then you can look for another one that's not in, you can look for any other, any other note that's not in the chord and you could target it. And you could try to start seeing, well, what's that gonna do? Notice this one, I'm not playing in the major, but I still, this key, the lydian, still has that leading kind of tone. So if I'm trying to make this the central point as an F, and then I move up here and I'm like. And I hit that E, you can see it's gonna lead into, I kind of want, it's gonna say I'm gonna want to end on the F, why? Because it's right before the F and I made that my central point. So if it's a half tone away, a half step away, you're gonna get that feeling just like we saw with the B leading into the C. So if I was to like. Right, you can end it there or I can end it. And so now I'm just trying to end it over here, going from this E to the F and then playing like my C shape in that F kind of space. And so then, so we can test out any other note that you kind of want to target. That's another thing that you could basically noodle around with in there. When you're doing your chord changes, then now we've seen the C. So when you're targeting the C, I can go up here when I'm on that C chord and in between the C chord, I can noodle up here and play one of these notes, possibly like a C, right? And then when I go to an F. Back to a C. That was kind of a, not a very creative. You can start to noodle around and try to switch your mind, practice switching your mind going back between I'm playing the same shape, but I'm trying to target a different note as I switch from a C to an F. Now the other thing that is confusing is that you could then think of myself as saying, why don't I take myself to an area when I get to my F chord, if I'm playing in the key of C and I'm switching to an F, why don't I switch everything as though I'm playing in like an F major, right? Because what I'm doing right here is I'm still playing the scale around a C major, which is basically means we're playing like F Lydian if I'm trying to make the F the central point. So what I could do is say, I'm just gonna switch from the C scale entirely to an F major scale. Well, how could I do that? One way you could do that is you could take this entire shape and find it for an F related shape. So I mean, this right here is the, this is a C major, the shape, which I can see because this pinky note is on a C. So if I find this string where I have an F, then I can just move this whole position there. That's what's great about the guitar. Now there's an F over here, I can't do it because my pinky's on this side, right? So I could say, where's the next F? The next F goes over the center of the guitar over to here, right? So if I moved this whole position up here, then I can play this same relative notes as though this was the C is now the F, right? And I can play everything, I can target everything like I did with the C, but now in this position, this relative position for the F. That's one way you can do it. That's kind of a distance away though when I go to the F, right? The other thing you might think is you say, well, here's an F right there. What if I, would it work for me to shift this whole thing down, right? What if I said if this position goes like this, and this, what if I make this like now is my top string and then I followed this position down this way, right? So I'd be like, it would be like the top strings would have, and then, right? And that works until you get to the kink down here where I had to go back one and now you wouldn't go back. It would be like this because that kink would mess it up. So it would look kind of like that, right? And it also gets messed up when you try to go back up to the top of the guitar because again, it's another circular motion. But if you get this bottom part, the top part will repeat, and then you can move and you can move on and continue there. So I know you might not be thinking that way right now but that's one way that you can kind of see it. Well, that's if I make that like as if it's the top string and I played this same pattern down as though that is the top string. Yeah, you can do that, but you have to compensate for the kink right here. And when you come back up to the top of the guitar, then you have to compensate for that. But if I was to do that, if I was to say, okay, then that would be like this. If I was like the top string and then it would say, and then I would say, boom, boom, boom, boom, boom. And then I'm going to compensate for the kink moving this up one. And so it would be look like that. And then this one would be right below it then. And that means this is the same as the top one, which is going to be looking like that. So I might have confused people there, but notice that position, if you look at it and then you can think about it this way, that position looks like what I had over here, right? That's the same fingering as was over here. And why does that kind of make sense? Because this is the same, you can think of the anchoring thing of this shape over here being the C chord that we have the C scale around. And now up here, I've noticed that this note right here, if I follow this pattern, makes a C shape within it. So I get that C shape within it. So the relative scale that's moving up to it, if I was to convert everything here to the F would be all the same C shape. This whole C scale would move up. Let me just kind of show you that. Let me try to map that out, because I'm probably talking gibberish here. So let me see if I go down here. Let's map that out. We'll say, okay, let's say this was on this fret to here. What was I doing up top? We're going to go out to eight. So this is the frets were on. And then I'm going to say to do it. Let's go from here to here. But let's actually map this out. Let me unhide some cells. I'm going to select these two, right click and unhide. Oh, now I hid them. Dang it. I was trying to unhide. Why do I do that every time? What is wrong with you? Crying out loud. I've got a problem, okay? All right, so let's, then I'm going to unhide some cells here, right click and unhide. And then I'm going to go up and change the key to the key of F, which is a nine. So now we're in, this one is in the F major. So now this is in the F major. And now let's hide some cells again. Let's hide from J on over to the major, right click and hide. There we go. And then, so then I'm going to say now this is the one chord. So now we're playing the F as though we switched our mind to it being the one chord. And then let's color these. So I'm going to go up top and I want to see my ribbon. Let's see this and always show ribbon mode. And we're going to say, let's go ahead and say that I'm going to make the whole thing just blue to start out with. So I'm going to say this is going to be my pattern in blue because that's what we normally do is the blue. Okay, there we go. Boom, more colors. Oh, what is going on? What is happening? I don't understand. I'm so confused. Okay, so everything's going to come together. Just hang with hang in there. Just hang in there. Okay, and then we're going to say this is going to be that one. And then we're going to say the C is going to be boom. C is blue. Blue, blue, and then the D is going to be blue. Blue, blue, blue, blue, and then we're going to say the E is going to be blue, blue, blue, blue. Okay, so there is our pattern. And you could see that pattern here. And now let's put our notes on top and say this is going to be equal to the F and we're going to make that green. And then this is going to be equal to the A is red A, A. And then this one's going to be yellow. Okay, but I missed the F. I think I can just format paint over here. I can just format paint one of these because I missed that. Okay, there we go. Alright, so now you can see this shape is in there again for the C shape. Looks like that. And boom, boom, boom, boom. Boom, but we've actually moved up the whole kind of C pattern. So let's hide. Let's do some hiding here. Not that. What is all this? Let's hide from like here, down, down to here. Right click and hide. So now, and then I'll see if I can put this back up to full screen mode and then scroll down a little bit and then up a little bit. Oh, that's too far down. Okay, so now you can see this pattern still fits that C shape in it, which is now an F, but the pattern's different over here because up here we're using a pattern that is the C major pattern that still fits that F in it. So down here, we're actually using the pattern from when it was on the C major position. So I would call this pattern number four, or you might call it the C open position C shape that's been extended to the pentatonic and then to the major position, right? So you can switch your entire mind to saying, now I'm going to just play that same shape over here around, but now I'm in an F. So I'm just going to shift that whole shape up here and then play that pattern. Now we're not practicing doing that right now, but I just kind of want to point that out because that's kind of a confusing thing, right? You could keep your mind in this pattern that would be relative to the C major, even though you're moving up because these notes fit within it, because you built it from the C major or you can switch your mind to say that now you're in the pattern that's related to the F major chord. The same notes are going to be in it because you still have those three notes in it, but now the notes around it will be different. How can you target what that pattern should be? Well, if I see this shape, then I can start to think, well, maybe that's the same pattern as the open position pattern, but you got to be careful because note that this shape fits in both of these patterns, right? But if you looked at the pentatonic shape, then this one would fit in the pentatonic shape and it doesn't fit in this pentatonic shape because that F is outside. Okay, so I know I'm going into the weeds here. You're going into the weeds. Let's go ahead and unhide, right-click and unhide. This is beyond the scope. Let's just go ahead and bring the worksheets back to hide some cells so we're ready for next time. So I'm going to just hide some of these, right-click and hide. And we're going to go down here and go down and right-click and hide. And then I'm going to go down here and go down to here and then boom, right-click and hide. And then I'm going to do that down here. No, I don't need to do it down here. And then I'll go back up top, scroll it in a bit. So we're ready to roll next time. And next time we'll probably do the same thing, but we're going to be moving on to the G chord.