 Guitar and Excel, open chords, C major scale, F major chord and C scale. Get ready and don't fret, remember the board's 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 our scale and related chords that 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, mapping out the entire fretboard, giving us the entire musical alphabet, numbering the entire musical alphabet, providing a worksheet to create the scale that we're focused in on, and then giving our scale and chord worksheets on the right. We then copied this over so that we can focus on the particular areas in this case, looking at the C major scale, and then focusing in on each of the chords in the open position. We started that process with the C chord, so that's in the example C, where we hid the cells of the fretboard, so we can just see in essence the open position. We mapped out the C chord in that open position, and then we analyzed it in multiple different ways. We are now continuing that process with the F, so we copied over in a prior presentation from the OG to the F blank tab. We hid cells so that we can see only the open positions from frets 0 to 3. Then we mapped out the F chord, where we had the 1, 3, 5, the 1 being green, the 3 being red, the 5 being yellow, and we noted that we can finger this position multiple different ways as long as we're grabbing one of each color, and we will be playing in essence an F major chord. Now what we want to do is think about the scales on top of that in a similar way as we did in the prior presentation, starting with the pentatonic scale, and then looking at the major scale, then we'll put them together, and then we'll talk about the relationships between the C scale and the F major scale. It's important to remember that we're actually in the C major scale even though we're focused on an F major chord. We're really trying to map out the fretboard in this open position related to the C major scale, so we're taking now the 4 note, constructing a chord from it. The way we do that, we can take the 4 note in the scale and then skip every other note. So we've got the F, we've got the A, and then the C. But when we actually name these notes, we name them in relation to its particular scale. So we call it a 1, 3, 5, not of the C major scale but of the F major scale. In other words, if I go back to the OG tab over here and I map out something in the key of F, now you're going to have the same 1, 3, 5 as the 1 note, and there it is 1, 3, 5 in terms of its related scale. So that's kind of important to remember because when we're moving from the 1 to the 4, you could switch entirely to the F scale, the F related scale, or you can think about it inside of, in essence, the C scale and that's going to be our major focus here. In other words, when we're noodling around with this, when we're adding other notes in the pentatonic scale and in the major scale, we have two choices when we move to the 4 chord. We can switch entirely to its related scale or we can stay in the tonic scale, the root scale, our home bass, which in this case is the key of C, or we can do a modal thing which we'll talk about a little bit. Now last time, we can do that a couple different ways. We talked about if you have this F, you can think about it as we're in the key of C and then we're going to be playing an F and practicing the F. So that means that you need to keep the C as your root. So you can basically play the C and then move to the F and then we said that you can lift up any finger that you want and that should fit because any of these open notes will fit in the key of C and we're playing this F as it relates to the key of C. These three notes fit in the key of C, but not all the F scale will match the key of C. So if we think about us being in the key of C, then we can lift up our fingers and we're in the key of C. If you wanted to practice the F itself and not be going back to the C, that means that the F would then be the tonic. It would be your central location and if you're just jamming here and you're picking up fingers, doing whatever you're doing there and you're not going back to the C, but you're playing notes around it that are in the key of C, then you're playing a mode and so you're playing basically the fourth mode. So you can do it that way and you can think about basically playing in the key of F as if it's your central. One way you can think about that is you can just say, well I'm playing the notes in the key of C, but I'm using F as my tonal point, my center point. I'm always going back to F. That's the place that's my home base. Or you can basically map this out to a mode and remember the modes are to the right. So if I go to the right, we see the minor, we see the Dorian, we see the Phrygian and then we see the Lydian. And the Lydian is the F. So F Lydian has all the same notes in it as the C major. In other words, if I hid this, let's go ahead and hide this out just to check that out and go from here to here. I can hide this. And so now you can put this side by side and you can see these same notes, but now you're saying the one is in the Lydian. So now my one is the F. But now the one, four, five are no longer, you can see by the capitals here, the uppercase, the one, four, five are no longer the majors. Now the one, two and five are the majors because we basically just reoriented this so that the one is now the F, even though everything is the same as the key of C. So whichever way you want to look at it, you can practice that way and we're still basically trying to map out all of the notes that are in the key of C on the fretboard. We're just changing the focal point. Alright, so given that, let's go ahead and I'm going to unhide this again and then I'm going to hide back from three to here, right-click and hide. Alright, so then we can go down to the pentatonic. Now when we look at the pentatonic scale, that's mapped out in green now, the dark green and then we still have our F on top of it, noting that this pentatonic scale is related to the key of C, not the key of F because we're imagining we're in the key of C. These three notes are in the key of C but not all the other notes in the F major scale are. So we're still, if we're noodling around here, we can noodle around with an F and then pick these chords up which are in the key of C, imagining that C is basically our root note. Now as we do this, note that the F itself, that's one of the notes that are not included, right? Because we've got the one, two, three, five and six are the five pentatonic notes. We don't have the four and the seven. So that F actually isn't in the pentatonic scale for the key of C which we're working in. It will be in the major scale of course because we constructed it from the major scale. Now the benefit of the pentatonic scale is that it gives you a little bit more flexibility or it's safer oftentimes to play when you're switching from chord to chord for example. The notes you're playing within are usually a safer bet that they're not going to clash for example. So you might want to focus in on a particular area here. And again you might do this a couple different ways. You could say, well I'm in the key of C so you'd have to play like a C and then you could noodle around in the key of C like I could focus in on this one little bit right here. And I'm always saying that the open chords are good because I'm in the key of C. So I'm just kind of seeing what can I noodle around and then go back to the key of C. And then I'm going to switch to the F and I could do the same thing in that little square. Right and so just an easy strumming like just two down or something. And that'll help you to switch back and forth. Now when you do the down stroke on a C that kind of subconsciously puts our ear in that key. So when I play these notes you're not thinking your listener doesn't think or you don't think probably either when we're playing it. I don't think when I'm playing it that that sounds like a key of C but it does because I laid down the bass chord. And then when I switch to a key of F and I play those same notes they sound a little different because they're now playing over the F. So you just lay down the foundation with a strum, a couple of strum, C. So those sound like they're close to a C. And those sound, those are the same notes but they kind of blend into the F. The other way of course you can practice this is you can make the F the tonic or the central point. You say I'm not going to go back to the C I just want to focus in on the F. Right and then you can I'm kind of restricted myself to that little box here which is little difficult but if you do that then you can practice just basically the F. Just remember that you're playing a different mode where you could go to the mode on the right hand side and look at the modal worksheet making it the one note or you can just think of it as I'm playing the key of C but acting as though the four note is the tonic so that you're still memorizing all the notes in here as they relate to the key of C and that's important because now you're really mapping out the fretboard in these positions where your fingers can go in relation to the key of C but now you're just using the four note as kind of like the tonic and that can be fun to play with. And then you can do the major so now this is the same thing but now we have our F shape which could be this or it could be this and now we're mapping out the major all the major on top of it remembering again the major that we're mapping on top of this adds the other two notes but it's still in the key of C so we could then like I could look at this bit down here and that fits nicely into my shape so if I have this shape I can see that I can play those notes I have the open note this little box and then this note and then I have these two notes that fits pretty nicely into both of these shapes so if I was playing a C I could do that pretty easily and then if I switch to an F I could do that same thing so I'm just noodling around knowing that I can play these notes I'm focusing in on these bottom strings and I don't even need to focus in on the open ones because I know open always works so I'm really just focusing in on these and then I'm lifting up a finger so I can be like alright there's the C F F and then obviously you can add to that anything that's in the note in the that you're actually strumming to right and you can add and you can start to noodle around with that or again you could just noodle just with the F and say now I'm noodling around I'm still playing in the key of C but I'm using the four chord as the tonic so I'm going back and forth from this box to like to these and so that's the general idea and so you can kind of noodle around with that and then if you put these on top of each other now we're looking at if you think about these on top of each other the blue notes are the base the bottom the bottom part and then on top of those blue notes we put the pentatonic scale and the pentatonic scale covered all the blue notes but it didn't pick up the F because that F isn't in the pentatonic scale and then we put this one on top our chord that we're focused in on on top of that and so you can try to get a difference between what's in the chord versus the pentatonic scale versus the major scale notice when you're noodling around as well it's kind of useful if you're leading into as you're kind of noodling around if you start and end whatever you're playing on a note that's in the chord the green, the red, or the blue the F, A, or C it will usually sound better because those are the notes in the chord so you kind of noodle and then you go into these other notes as a passing through note and then you go back to one of the notes that are in the chord generally and that is it one way you can do that now you'll kind of do that naturally just kind of do that that's what will sound good so that's what you'll probably tend towards doing and then so then remember that the next thing we want to take a look at are these shapes so we said that the 145 has this shape that she can basically move up so I'm going to unhide some cells again from F to AK right click and unhide and then I'm going to hide from 12 on over here and I'm going to right click and hide so this is the position of the F so now we have F in the home position now if I'm in the key of C then the next thing we could play that's still a major is the 5 so I can go from the 4 to the 5 and then you see that we have our position here so in other words if I was to play this out I can be here and I'm just playing in the key of C but I'm starting on the 4 and then I can move up to here which is the 5 same shape up to here so that's useful to kind of practice with but then you might be thinking well what about the pentatonic shape around that the pentatonic and major shape will not be the same when I go from 4 to 5 I'm just thinking about the whole thing in the key of C if I was to switch entirely when I go from the 1 to the 4 to the 5 and switch keys then it's a different situation you could think about it either way but we're really focused in on the key of C right now so we're saying I can move this position up I can do this and I can play all the notes arpeggiate in it but I can't really move the whole and the related major shape around it up because it's not going to be the same exact shape as we move the related shape up so let me see if I can kind of map that out and we'll see what that looks like just to see that if I go into here and I'm going to say add and we'll make the rest of it blue so do we have we don't have a C so I'm going to add that and I'll make that blue and then I'm going to say ok and then insert do we have a D we have a D we don't have an E so I'll make the E blue and so there we have that and then insert and then do we have an F we don't have an F yet so I'm going to make that blue because we're focused on the 5 and so let's make that blue and then ok and then insert and do we have an A we don't have an A so I'll make that blue and so there's going to be our scale that's around it so if I looked at these two on top of each other it's a little difficult to get the worksheet sized alright so then I have the same shape here in terms of these notes but we don't have the exact same shape if I was to let's actually hide so I can see it see this one let's hide these down to here right click and hide ok there we go and I can go in a little bit but now I don't have all the blue notes on this side what if I copy the conditional formatting across I think that works I think that works that's nice alright so now I can see this shape here I can see that shape being moved up but not everything out like these two are still colored up top but this bottom bit is different so the major scale around it is not going to be the same even though that shape is the same so that's just something to keep in mind when you're kind of trying to map this out and think about what you can do, what is in the major scale because remember we're focused on the major scale so let's unhide this again and then I'm going to hide all of these numbered ones so I'm going to say let's hide that right click and hide and then this one I can hide that's not useful right click and hide ok and then I'll go down here and do it again right click and hide alright and so there's the five and then let's hide these ones and I'll select this right click and hide now and then here it is going back to the C now remember, note that we're playing in the key of C so when you're playing when you're thinking of of moving this position from here to here you could start with a C like this or you can just start with this position if you do that then you're playing in a different mode because we've eliminated the C now this C this is a different shape so the actual C shape if we were to move it up is up on this fret so I'm looking at that C on the 10 1 2 3 4 5 6 7 8 10 and I'm looking at that shape right there so that's another place that she can basically play a C so you can move this shape up here and be playing the root note if you're playing in the key of C so that's going to be that one and then let's go ahead and hide this so I'm going to say let's hide from here to here right click and hide and so this is in now the key of F so this one we actually changed to the key of F note that if you're switching if you're playing something even with the C as the root when I switch from chord 1 to chord 4 I could think of it as just those notes are still in the key of C and I'm playing that chord I'm going to noodle around the major notes around it still in the key of C or I can switch entirely to being in the key of F right I could switch the whole thing to being in the key of F and then I make that change so that when I noodle around something I'm going to play the note specific to the key of F instead of the key of C and then I go back to the key of C again right now we're really kind of focusing in on trying to understand everything in the key of C but I just want to note that for context so then but also just realize that when you have these shapes you could play with these movable shapes as though if you're playing this F then you can play the 1 4 5 starting with that shape and move it up to the relative position so if you played it this way let's do a bar chord 1 I can move that up to the 6 and then I can move that up to the 8 and I could start to see those relative positions that way and then I also just want to map out what it looks like if we if we had this F shape with the with its related scale around it so let's select this entire thing I'm going to say this is going to be equal to and I'm going to say that we're going to we're going to add actually let's just do this bit I'm going to take just this bit I'm going to say this is going to be equal to and then I'm going to add we've got the F we don't have a G we're going to make that blue making that blue and then okay and then this is going to be equal to we have an A we don't have a B in that area so I'm going to say let's make that blue and then okay and then this is going to be equal to and then we have a C is in there we don't have a D the D boom boom boom and then okay and then an E we need the E so I'm going to say let's pick up an E equal to the E boom boom custom blue okay so there so there we have it and you can see although the F is in here if I compare that to the shape we had up top this one it looks different right so I can go down and say let's hide hide these I'm going to right click and hide so now up top we have the same F shape in here but in here we're thinking of it in relation actually I hid too much I don't want to hide that much let's hide it from here to you're going too fast it's skipped right click and hide so now this shape still has the F in it but we're thinking of it in relation to the C as though it's the 4 and the blue notes around it then are in the key of C whereas this one this one down here is in the key of and the key of F so now the blue notes around this one have to make it pretty small to fit in here the blue notes around this bit from 1 to 3 are in the key of F now so you can see the shape is similar that top bit looks the same but this one is different right so you can't so that's just you just got to be careful in terms of when you're playing the F are you thinking of the F in relation to the root or tonic the key of C which is what we're doing right now because what we're trying to do is map out the entire fret board in the key of C and all the notes of the F fit in the key of C so that will sound good but you can also think about it when you're switching from the 1 to the 4 that you're switching entirely and you can switch the entire pentatonic scale to the related F and it will sound more F majorish than an F with the C with the C stuff kind of noodling around behind it so we'll talk more about that later these pentatonic shapes but right now I just want to note that our goal here is really to map out the fret board in the key of C all of the notes that we're playing at this point in time are going to be the non-sharp and flat notes which is easy to remember because those are all the notes that are in the key of C so if you're doing something that's a sharp or flat then you're doing something different not necessarily wrong but you're going to another scale somehow you might be thinking of yourself being in the key of F which you can do but you want to keep that kind of straight in your mind so that when you're practicing you have a general sense of the key that you're in because then you'll start to be able to map out the fret board in your mind, you'll be able to say the things will kind of relate to themselves a little bit more next time we'll try to name the intervals of the F, the 1, 3, 5 and map it out technically that way