 Guitar and Excel. Open chords. C major scale. F major chord. Worksheet. Get ready and don't fret. Remember, the board's already totally fretted. So you need to be like 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 this workbook if looking at this from a music theory standpoint, because it will simply be used as a tool to map out the fretboard, give us the scale, and related chords we're focused in on. If you do have access to this workbook, there's three tabs down below. Example C, example F, and the OG. The OG tab representing the worksheet we put together in a prior presentation, it now being our starting point. The example C and example F tabs representing the adjustments to the worksheets that we will be making as we focus in on individual chords within, in this case, the C major scale. So quick recap of what we have done in the past. We started in our OG worksheet, and then we copied over the OG worksheet so that we can make adjustments to it first in the C chord. So we adjusted our worksheet so that we can have multiple C majors worksheets. And then we mapped out just the first three frets and the open fret of our fretboard and then mapped out the first chord in the C major scale. And we looked at it from multiple different angles. Now we're going to do the similar process, but we're going to be moving to the chord of F, which is actually the four chord. You might be saying, why don't we go to the two chord next? The reason I'm going to the four chord is because it's going to be another major chord. So I first, it's useful oftentimes to be thinking about the one, three, five together because they're going to have similar relationships. So when you start to play them, you'll see the similarities in the relationship and then play the minors together, the two, three and six together because they're going to have relationships. And when you start moving things up and down the fretboard, it'll be useful to see what those relationships are. So that's my idea as to why we would do that. So we're going to then take our OG tab over here and adjust it to this worksheet. Now note that you might think also if we're going to adjust it to this worksheet, why don't I just copy over the example C tab, which is already adjusted. It's already in the key of C. And then I can just adjust that. And you could do that. You could do that. But I'm actually going to make an adjustment to the OG tab to make the whole process of copying this thing over a little bit easier. That's one reason I want to take it directly from the OG tab. And I also just want to construct everything from scratch again so that we can basically see what it is we are working on. And that'll help us with our kind of thought process. That's my thought about it. So to do that, I'm going to go to the OG tab. Now let me show you what the problem is over here. When we built this worksheet, if you were with us when we built the worksheet, you'll note that we used absolute references in here when we did the lookups. And at some point when we kept doing the worksheets over here, we realized that the absolute values were not helpful if I wanted to copy the entire worksheet because those absolute values are going to be then tying into this table. So they're really useful to build the worksheet, but I would like to remove them once built if I want to copy the entire worksheet over. So what I'm going to do with this first tab in the OG tab to make it more flexible is to go into everywhere that I have an absolute reference and now remove it because every time I copy this thing over from here going forward, I'm going to copy the whole table most likely and the absolute references will mess me up. So I'll show you how I'm going to do it. I won't make you watch me do the whole thing, but the idea is I'm going to go into each one of these. Every time I see dollar signs, I'm going to select F4 in the keyboard or you can just delete the dollar signs if you want. But I think the fastest way is to go in here and say F4 in the keyboard, remove the dollar signs wherever they are, and then that'll remove the absolute references here. I'll do that across here, removing the absolute references here and here and so and then you can do this across this way. And I won't do it the whole thing, but just to get the idea, we're also going to need to do it down here for everything in here. This is why it was useful to put them in to copy it through here. But I think when I built the worksheet, the best way to do it would have been to use the absolute references to copy out here and then go in and remove them as I copy the worksheet through as we did in a similar way after that. So I would need to remove all the absolute references here to make it more flexible. And I'll just do a couple of these and I'll show you the next area all the way down, removing the absolute references, the dollar signs here and here. And I would need to do the same thing for this whole square and then down here. These are absolute references as well pulling from here. So I'd have to go into here and remove the absolute references for all of these. So I will go in here and do the rest of these. And then when you have your OG worksheet after this presentation, it should already have them removed. And that'll make it a more flexible worksheet. Okay, so now all the absolute references have been removed in the OG tab, making it more flexible. So I'm going to then put my cursor down here. I'm going to hold down control, grab the OG tab, left click on it and drag it to the right, which will copy it over. So then I'm going to double click on the OG tab and just call this, let's say blank F. So this is the one we're working on, which I'll just call blank F. And then I'm going to make it white, right click it on here and say we'll work on the white one at the end. Okay, so now I'm going to just a quick recap of what we have here. We've got our fretboard on the left and numbers and then in numbers and letters. And then up top, we've got our musical alphabet. And then we numbered the musical alphabet. And then we gave us our number and letter. And then we mapped out the scale, this note being the key for the scale. I'm going to keep it as a four, because that's the key of C. If I changed it to a six would be in the key of D. I'm going to keep it as a four. You can see the musical alphabet whole whole or two, two note, two note, one note, half whole, whole, two note, two note, two note, half. That's going to be our formula to then create our worksheet in the key of C. We still want to be in the key of C, but now we're going to be focusing in on the four chord in the key of C. So I would like to then instead of having down below this having my related modes. What I want to do is just copy over this first one. And this is where making those absolute references make it a little bit more flexible. I'm going to hold down control and scroll out a bit so I can see everything that I'm going to copy a little bit more in depth. I'm also we can also remove the conditional formatting here. I'll update the conditional formatting. Select all of this home tab styles conditional formatting. And let's just clear the rules, get these rules out of here. Okay. And then I'm going to copy from one down all the way down to here so that I get to the end of this worksheet. So it's a 25 copy that. And I'm just going to paste it on top. So I'm just going to paste it on top here all the way down. And this is where those absolute references now will be pulling from the related table as opposed to last time when we did that where it was still pulling from the table up top. Not a big problem either way if we keep everything in the key of C. But if I wanted to change this to a different key, then that's where I have problems which we've ran into one time in the prior presentation. So that's why we're doing this. That's why we did that whole absolute reference thing. So I'm just going to paste this on down here and paste it down to all of these down below. So we have some different worksheets that we can work in where they're all in the key of C. And so I'll paste this down here. And so there we have it. All right. Now let's go back up top and we're going to be focusing in on this fretboard instead of the one with just the numbers. We're not good enough to see it just as numbers yet even though it's easier to see if we were to be able to visualize the notes as numbers as opposed to this cluttered mess down here. But that's okay. We can't see it as an Ahsoka board. Ahsoka. Ahsoka. No, that's a Jedi. She's a Jedi. What's that game called? Whatever. I'm going to hide this stuff. And then we're going to say hide this. And so now we have our worksheet to the right. And let's also hide before I hide all those might be easier to see if I hide. I'm going to go from frets one, two, three, and that's it. So we're working at that small open position. And I'm going to go from there to my to my board over here to my table right click and hide all of that. So now we've got our table right next to it and I can zoom in now maybe a little bit at least. So now we're focused in on the table right next to the fret board. And now I'm going to hide all of the numbered fret boards because I don't need those. And I could, I could go all the way up to here and hide this. So these fret boards are right on top of each other or as close to as we can right click and hide right click. My right click is not working and hide. And then I'll do it here. We'll hide all of this right click and hide. And then we'll do all of this and then right click and hide. And then we'll do all of this and right click and hide. And then I'm going to do all of this and then right click and hide. And then all of this and right click and hide. And that's it. So then I'm going to go back up top here and we're going to say, alright, so now let's put a box around this. So I know where my focus is. I'm going to make this very large. So I'm scrolling in, maybe not that large, like a little bit so I can see everything. Okay, so there it is. I'm going to copy this little table that we have that's indicating that this is the open or zero on the fret board. Copy that and I'll paste it over here and I'm going to make it yellow. So I'm going to go to the home tab. Well, let's go to here. Let's go to the shape format and I'm going to outline the shape format yellow. And so now I'm going to indicate that I'm in the key of C now, but I'm focused in now on the four chord. So remember that in the this is the key of C, the key of C. Here's the notes in the key of C. There's seven notes in the key of C. And then we build our records off of those seven notes and we will typically end up with some chords that are in other keys. So when I think of this as the one three five of we think of that of the F major chord, right? But it but really that same three notes are being constructed as we constructed from the C major. And that's what happens if you construct the chord from the four position. So and again, I'm focusing here because when you construct a two chords, you end up with a minor and that'll be a little bit different than the major. So it's useful to kind of noodle around the one four five chords together because you'll have you'll see some similarities with the relative positions as we'll analyze here. All right, so then let's go ahead and select the fretboard and I'm just going to map out this on the fretboard first just looking at the notes. So I'm going to go into the home tab styles format painter say this is going to be equal to the F. I'm going to make that green. I'm going to make that green and then say OK. And then I'm going to say format painter equals to the A. I'm going to make that red and then this is going to be the format painter equal to the C. I'm going to make that yellow and then I'll format paint these over here that green. I'm going to say home tab format paint that over here and then that red. I'm going to format paint that over here and that yellow. I'm going to format paint that over here. So now we have our F mapped out. And by the way, I'm calling this an open position of the F. But really, as we'll talk about in future presentations, the F doesn't have like the best open position. So we're actually using like another shape, which you might say is an E major bar chord kind of shape. So we'll get into that more later, but it's still a very comfortable shape. There's different ways that you can play it here, right? I can play this whole thing with a bar chord, or I can play it just these notes, or I can play these notes. If you play just like these notes, it's a very comfortable and useful position. The bar chords a bit of a stretch, but we'll get into more of that later. For right now, let's just map it out. So the next one, we're going to say that this one is going to be here. So I'm going to copy let's copy this yellow thing and put it down here. And now I'm going to map out the pentatonic scale. Now note, I'm mapping out the pentatonic scale in the key of C, which means that because we're not on the one chord, then some of the other chords might not totally map into the pentatonic scale in the key of C because we're missing some notes. In other words, if I was to, if I was to select the pentatonic scale in the key of C, it would be the one, two, three, five and six. I'm going to go to the home tap flaunt group. I'm going to make it this darker green this time. And you can see that the F, the four, isn't in that pentatonic scale. Now if we made the pentatonic scale in the key of F, then of course the F would fit into that pentatonic scale. So just, but obviously we constructed the F chord from the four chord on the key of C in this case. So, so we'll map it from there. We'll talk more about that relationship later as well, but that's just something to note. Obviously it will be when we use the entire scale, which we'll do next, then of course the F will fit into it because now we're using all seven notes of the scale. Okay, so let's select this thing again and let's make, let's put the pentatonic scale down and then put these three notes on top of it. So I'm going to say, all right, home tab style, let's say this is going to be equal to this note. I'm going to make that dark green this time. I'm going to make it the dark green. So there's the pentatonic and then I'm going to say boom, second note in the pentatonic for the key of C is the D and we'll say custom making that dark green. And then I'm going to say, all right, next one is going to be an E making that dark green. And then I skip the F and we go to the G. So I'm going to say, all right, this is going to be equal to the G making that dark green. And then we'll say conditional formatting to the B, I'm sorry, to the A making that dark green and the pentatonic scale shuns out removes does not recognize the four and the seven, which of course we're on the four chord. So that means if I add my three notes on top of this, it's not going to fit exactly in the pentatonic because that F is not going to fit in there, the A fits in there, and the C fits in there, right. So maybe this one at what so let's well let's map it out. So I'm going to say all right, let's do this and go and go conditional formatting, mapping out the 135 of the core that we're in the F I'm going to make green this time it's a different green. So hopefully that doesn't throw people off too much because we have too many colors, color overload, color overload. And then we're going to say this one is going to be this color yellow. So now we have that and then I'm going to map this out over here again, I'm going to say that the F format painter is that the A format painter is that and the C format painter is that okay, and so then it's useful to just remember that if you're looking at the pentatonic scale of C that F is actually outside of it, right? So so that's kind of interesting. Now of course, if we map this same thing out and there's another, you know, F of course down here that's not in the pentatonic scale either and up here. Now if I go down again, and we say let's do this again, I'm going to copy out another yellow, but I look at the major scale, then of course, everything here will fit in the C major scale, it will also fit in the F major scale, right, because but we built it from the C major scale. So all of these notes have to fit in it because we just built it by picking every other note in the circle from the C major scale. So let's go ahead and do this again mapping out this the C major scale and then the F on top of it. So I'm going to say home tab bracket, let's make these blue now. I'm going to make them all blue and then map out our chord on top of it. So I'll make it the blue like we've done in the past. There's the C. And there's the D making it blue. And then there's equal to the E. I'm going to make it blue. And then there's the F. And I'm going to make it blue to and then there's the G and it is also going to be blue. And then we're going to have equal to the A and it to is blue. And then finally, ultimately, lastly, we'll have a B which will to be blue. Okay, so there's our there's our major scale, the key of C, not the key of F, but the F chord should still fit in there. And you might start to kind of visualize what I would call the four, the four shape of the pentatonic scale. Some people would call it the C shape, you know, pentatonic or major scale, to try to hone down that fingering position. We'll talk more about that later. But just note that this of course will fit into the that that that shape. So when we're thinking about this, what if we were to play this F, we would be we might think about it as we're playing the F inside of the C major shape, or you could switch from the C completely to an F and populate it around the F major shape, which will have some, you know, different notes than the C, although these three notes that make up the F chord will be in either shape in both shapes. Okay, so we'll talk more about that later, you're getting ahead of yourself. Don't put the cart, your the cart is in front of the horse. What the horse can't push the cart with its with its snout. It's got a strong head. If I put the cart in front of the horse, the horse can push it up the hill with its head. It's not that difficult horses can do that kind of thing. Anyways, I'm going to make this green. And then I'm going to say this is going to be red. And then this is going to be equal to this one. And let's make this yellow. And so then I'll put this down here. So I'll just format paint this one here format paint it there. And format paint this one here. And then I can format paint this one here. So now you can see that that F shape is fitting in here, we'll talk more about it later, we'll just map it out right now. And now let's do all three of them. So we have the pentatonic, the major, and then the chord. But remembering, we're looking at the pentatonic and major, which will fit into each other because we're we're looking at the key of C. But you can also switch the whole thing and look at and switch it to the key of F, which will have a different pentatonic and major. So let's go down here and do that. I'm going to say, what once again, let's make these green. I'm going to let's just format paint these. Or I can just I don't need to format paint them. I can just say this one, this one, this one, one, two, three, five and six, home tab font group greenified. And then so let's do it this way. This time I'm going to map. I'm going to imagine the bottom layer is blue. And then on top of that, we put the pentatonic. And then on top of that, we put the major. So let's just let's just do the whole thing. If I map out everything as blue again, this is going to be equal to this. And I'll make that blue. I'm going to say that's blue. And then I'm going to say, okay, and then this one is equal to that. And I'm going to make that blue, we're just going to map out the whole major scale is blue again. But that's tedious, you just did that, I know, but this we're going to this is going to solidify the concept so that it's repetition is the key to stuff. It unlocks things. I don't know what it unlocks. So I just hold onto the keys and jingle them. That's fun too. But I assume that at some point, all these keys I have will unlock something, something important, treasure possibly. Anyways, so we'll just make all these blue. So we've got the down foundation, the foundation. So then you can imagine, okay, well, the green ones, I'm just going to put on top of the blue, right? So here's our shape, there's our there's our major shape, I would call shape four, or the C, you know, shape in the major C, C chord shape, if you built the whole shape around it. And so then I'm going to so now I'm going to add the greens on top of it. And so you'll see this will fit on top of the green ones, which will be the one three five and six. So I'm going to say let's put this one is now I'm going to change it to be green. And isn't that kind of redundant, you could have just made it green from the beginning. Yeah, but now you see that we're putting it on top of the blue one. So you see how they fit. You're missing the point. It's not about we're not trying to do this fast. We're trying to this is conceptually important. What's happening here, the green are fitting on top exactly of the blue. And so then this is going to be the green here. Oh, wait a sec. That's not the right green. Let's do this. This is going to be I'm on. Did I do the E I'm on the G? It's got to be the dark green. First, and then one more time. Uno vase moss por favor is going to be the dark green. Alright, so now you could see that we placed and then the only blue that is revealed now are those two notes fb that that are outside the pentatonic. And then if I pick up the the this one, the cord, it fits on top of the blue notes, but not exactly inside the grain notes, because the grain notes are not the pentatonic scale of the F major chord, but instead the pentatonic scale of the C major. So you could see that's where that f kind of kind of hangs out here. It's not in the pentatonic. So we're going to say, Alright, let's do this and say this is going to be equal to this one. And this I'll make that one this color green. And then we'll say that this is going to be equal to this one. And then this is going to be equal to this one. And we'll make that yellow. And then I'm going to say format paint boom, and format paint bam, and format paint bam alarm. And then if I copy that, you can see that then that f is the one that's kind of outside the pentatonic scale. Right there, right there, right there. Okay, so there it is. So and so also note that we could compare this then to making the pentatonic scale in the key of f, right? So I could I could change this down here. Or I could go like if I go to the og tab, and I change this to the key of f, which is a nine. Then I could construct my scale with the f as the one note. And in that case, I'll get the same notes f a and c, as I do here f a and c. But then I'll come up with a different pentatonic scale based on the relative note of f. And if that was the case, then the the this chord would fit into the pentatonic scale, which would fit, of course, into the major scale, which would be a slightly different shape than what we're looking at now, at least in this position in position next to the fretboard here. So we'll maybe analyze that a little bit more later. But now that we have this mapped out, we can we can kind of see this and say, okay, there's the shape, I can start playing with the shape and think about how we would play it. And so we'll do that next time. And then we'll see how it kind of fits into the pentatonic and the major and talk. And then we'll talk a little bit about the intervals and how the intervals kind of are similar to what we had with the key of C. Or in other words, with the C major chord, because we're talking about another major chord. So when we're looking at the 135, and particularly at the three, which is which is going to be the same for the major chords versus the minor chords, we'll see that we'll see patterns emerging patterns, which we can then facilitate up and down the fretboard that we can rely on because the guitar is symmetrical.