 Guitar and Excel see major a minor scale fret number nine fingering Get ready and some coffee You know Phil's been calling me a toxic white-head real man to our ESG investors again That is our environmental social and governance investors and honestly me toxic. It's silly for crying out loud Yeah, calling me toxic is as ridiculous as a modern-day superhero Which is of course completely ridiculous? I mean I hear Hollywood's plan is to make them not only ridiculous, but also ambiguous and ugly Which doesn't sound profitable to me, but maybe the ESG investors will like it I don't know. I mean look at what they did to the Teenage Mutant Ninja Turtles April O'Neill April O'Neill is not supposed to be shaped like a pair. I mean honest Paralyzing April O'Neill like that is going too far Hollywood. You've gone too far. You can't go around just para rising women like that It's it's not nice tampering with turtle testosterone like that. I'll tell you what anyways The point is that I happen to be a very kind hearted and charitable person not toxic I mean just yesterday some bum said he needed to take a crap and I was like hey Hey, you don't need to take a crap. Yeah, I'll give you one of mine Because stealing people's crap don't sound safe or sanitary. Yeah, I usually just flush him down the toilet anyways I'm guessing he needed some fertilizer to start like a garden or something to grow his own food be self-sufficient Help the community, you know. Anyways, whatever who cares about the ESG thing Anybody investing in ESG is headed for a blood bath Well by by blood bath, I meant bad returns on investment Phil. Oh my god, Phil's calling the FBI now We need to get this guitar lesson on its way before they take me to jail charging me half a billion for bail Here we are in Excel if you don't have access to this workbook, that's okay. You could just follow along But if you do have access, it's a great tool to run scenarios with quick recap of the project thus far Noting that you don't have to have watched all prior presentations to follow along with this presentation However, a general overview of the overall project can help to orientate us So let's go back to that first tab to get that overall view We've been looking at the C major scale and related modes We started out mapping out that scale in open position Which we define as frets zero through three noting that that E Represents the low or heavy string the string closest to the ceiling Funnest way to map out the notes in open position being to construct the chords from the notes in the scale and map them out Starting with the one chord the C major chord which we mapped out and discussed in detail We then went to the four chord because it also has a major chord construction Mapped it out discussed in detail then the five chord then to the two chord because it has a minor chord construction same with the three chord the six chord and then the seven chord the diminished chord construction Noting that if we mapped all of the notes in all of those chords in the open position We would have all of the notes in the C major scale Which would look something like this in open position We then wanted to jump to the middle of the guitar and we're going to start in basically positions or frets four and five Learning this area of the guitar first not by constructing chords But rather by looking at the scale shapes so that we can then connect the scale shapes to the open chords that we have learned in open position and so we talked about this shape we talked about it in relation to all the different notes in Our major scale we then moved up to fret number seven the next shape Which starts on fret number seven seven through ten and discuss how we can link it those shapes in fret number seven to the shapes In fret number five and the open position and now we're going to be moving to fret number nine Doing a similar process learning this area of the fretboard first in terms of a pentatonic scale And then we'll add the other two notes to get to the major scale So let's first map out what the colors mean here We've got our fretboard this representing the low or heavy string the one closest to the ceiling and We have all of the green notes What are the green notes where they do not represent all of the notes in the C major scale? But rather only the notes in the pentatonic scale, which is a quite common scale and one that's going to be Possibly safer when you're kind of when you're improvising around So that's what it's quite common to use the pentatonic scale And then we'll see how the pentatonic scale fits in of course to the major scale adding the two extra notes Which are not in the pentatonic scale note that the pentatonic scale basically is related to the key of C major and the relative minor meaning all of the notes kind of fit beautifully and the C major and the related minor Because of these missing notes that we used to construct the other chords It might not be a perfect fit when we look at say other modes for example But oftentimes some people like to learn The system by learning the pentatonic scale and then seeing how they can adjust the pentatonic scale to accommodate Things like playing in a different mode or something like that So that's one way that you might Structure things in your mind because the pentatonic scale really has kind of the most important notes oftentimes and Then you can learn what you want to build off of that pentatonic scale Other people like to have the whole major scale and then see how the pentatonic scale kind of fits into the major scale Just kind of how your mind works or how you want to be looking at a particular problem But the pentatonic scale Primarily relates beautifully to the C major scale and the a minor scale And of course it's easier to learn because it has two less notes in it And it has some other rules that we can kind of follow when we're trying to just map it out on The fretboard so that's what the green notes are now then these boxes are Representing the shapes the chunks of the fretboard that we're cutting the fretboard into so the first shape which I would call the the One shape number one But you can also call it a G shape the reason you call it a G shape is because we're looking at the major scale the key of C we can also think of different modes But if you think about the C as the related major scale if I was to construct a C shape You could see it a C Chord you can see it takes the form of a C shape that we would expect to see in open position So you could use that to define That whole shape Noting that when you're looking at the pentatonic you would have to add the other notes Because there's three notes in a chord and there's gonna be five notes in the pentatonic scale to get the pentatonic scale But you can still name that entire shape like a C major G shaped pentatonic shape That becomes a little bit more messy to name it that when you add the other notes the other two notes in the major scale Because then this same G shape will fit in multiple different shapes So you got to make sure you trying to orientate your mind on how you're Visualizing the fretboard and how you're gonna name the fretboard which is important So that you can kind of focus on what you want to be focusing in on So here's the G the G shape here and you can see if I move that up here That was to mute these notes You kind of have that same shape up top then this one represents the what I would call position number two on The fretboard you can also call it an E shape and the reason that's an E shape is because if you see this See right here, and I was to build like an E bar chord Shape it's an E shape because it feels an open position It would look like that and then if you did that it would look like that And then if you move that up to a C it would look like that. So you could name it like an E shape Position and then add the pentatonic Calling calling it a C major, you know E shaped Pentatonic position and so you can see there's overlap between these shapes. So this shape There's the top three and then when you move up to this next chunk, you're gonna be moving up Here so there's some overlap. This represents the overlap. That's what this bottom bit is These are trying to show the overlap between the shapes and that's kind of your pivot position So that you want to be thinking when you're looking at these shapes It's often useful to be thinking am I leaning back into this shape or am I leaning forward? Into into this shape you can move in between them As well, but what you want to think about where's your finger in position going to be in my which shape am I leaning into? And then we're going to do the same thing from the yellow Position two to position three. So this green box represents position number three, which you could call a D-shaped position because once again if I took that C right there and you lean it forward You get that little D shape that people are probably used to seeing Which people are used to seeing back here But if I move it all the way up to here past fret 12 where it basically starts to repeat You could see we're pointing to that C now now to really get the bar shape You could just play these three notes But if I wanted to get the bar shape I would have to reach back to this one Which means it's very difficult to finger some people can finger that well I can't so I just kind of cheat it when I look when I play the bar Which is going to be this C this G and that E and then I don't need the other C right there I can switch from this position basically to that position if I so choose but being able to see that shape is useful because some people will name this whole pentatonic shape and possibly even the major shape as basically a you know a D shaped C major Position and friends or I just would call it position number three But it's useful to be able to link that to that shape as a as a anchoring position All right, so then we just want the general rules out with our shape So I'm going to actually move this yellow shape in a bit so we can kind of look just at this shape So we don't see the overlap as much so there we have it now the general rules out with these pentatonic shapes is That everything within the shape is going to be there's got not going to be any half steps In other words, they're not going to be any notes right next to each other That's basically what the pentatonic shape is removing in other words If I go down to the major shape you could see that you have these positions Where there's these half steps and the half steps are kind of the fun things Sometimes because those are the things that will give you that resolution the tension and the resolution However, there are also things that can make things sound make the music the progressions sound odd Or where problems can come up so by removing basically all of these half steps Then you're more likely not to hit something that doesn't sound nice And then you can decide when you want to be pulling in a half step or something like that It is one way you can kind of look at it But the pentatonic won't have any of those so you're gonna have either a space Between them like that or you can have two notes in between them like that You'll never gonna have a finger in position. That's gonna be longer than that Pointer to pinky the perfect for fret apart pointer to pinky which is great because that's perfectly comfortable for Our our hand so it fits the hand just perfect and that's kind of like the idea of the shape So also just realized that we are moving up over the top of this fret number 12 That's where the guitar starts to repeat again We want to remember that these in theory These shapes would go on forever if I go to this this og tab Actually, I'll go to this tab the scale overview tab Notice that these shapes go on for forever, right? So I'm going from four to five to one the two the three the four the five And then it would just keep going if you imagined the fretboard being infinitely long Or you can imagine it in a circular Kind of concept which is useful when you don't have an infinitely long guitar Because I can't go much past after fret 12 We could if we had it if we had electric guitar But still you're gonna hit a cap up here And then you've got to see where it loops back around and you can imagine like in a circle format And that's when we hit this basically this fret 12, which is the nut all of the basically Shapes are the same going from here back to here except that of course you have to borrow them off Once you go past this shape that's gonna be the general rule So and so this one kind of Skirts over it just a bit right there with that C So we're going beyond it, but we're already back to this nut the whole bar here is Equivalent to the these notes over here are the same as these notes over here So we are starting to repeat there So that's the general idea now when we practice finger in it most people will practice finger in this by just starting here And That's not exactly what you want to do most likely because if you just keep on starting at this shape and practicing it as a D it's gonna sound like you're trying to play it with the D as the tonic and That would be like a D Dorian, which would be fine However, even that is difficult to do because you because we don't have all the notes in the Dorian because we're using a pentatonic So so meaning that means that you know The pentatonic fits beautifully with the C and the a all the notes of the C and the a fit in it or the one and The six the Ionian and the Aeolian modes if you want to see it that way And if you try to make the D the center as you're playing a pentatonic It's not gonna work exactly well because the because the pentatonic isn't designed around the D You're gonna have some notes in the the the D con in the D Construction that are the are the notes that have been removed like this F right there becomes important So if you wanted to do it that way if you want to practice playing a pet like the pentatonic around the D then you want to look at the important notes that have been missed and Possibly add them right so then I can play the pentatonic and then add the F That's how you might start altering your mind that way But when you just learn in the shape at first you want to be in C or a minor or the major or the related minor You would think how could you do that? Well, I could start where the shape starts with a C and that's usually the shape that we name it right here So it's way down here in the middle, which kind of feels uncomfortable But we can that's one way we can do it you can also say okay Well if I'm on the D here if I go back one to the prior shape There's my there's my C so that's often useful as well. So you might start it here prior shape keep in your mind That's the prior shape moving up and then we go from here to here. So then let's just follow this out We go boom I'm gonna start here to get that in my mind and then go go boom boom and then we're going from our Ring and also realize that you could play this a couple different ways because when we move down to To adding the other two notes, you'll see that my forefinger position is actually like this from Fretts number nine So you would think well, I should play this with my ring finger so that my ring finger is ready to then My pointer finger is ready to pick these up But I think most people including myself like to play it this way with my pointer finger Even though that might not be technically the best optimal fingering to play all notes because you have a lot more ability to Bend and do stuff with it then you do with your pinky. It's hard to bend and stuff with your pinky So if you're playing fast Then and you want to run through it you might be Good with your pinky, but if you want to Bend and stuff then you're probably gonna want to be switching to your pointer So that's why I would I would start here. I'm gonna say I'm here I am in the last position and slide that up To here and then I'm going from Pointer to ring and then back down Here pointer to ring pointer to ring and then I've got to reach all the way back That's where our finger and gets a little bit messed up this way because now I have to reach back With my pointer one back and then it reached this one up with my pinky and then back and then reach up with my pinky And then pointer pinky so we can go okay. Let's start with this C Also note to emphasize the fact that we're in the key of C in our mind We might want to be starting and stopping or emphasizing every time we hit the C as we finger through our scale and Possibly even create a chord construction as we hit those C notes So for example, if you look at this C and we were to construct a chord from it Most common chord would be looking going forward like this, which would be that E shaped C major Bar chord so you play that bar chord to start or if you don't want to play the whole bar chord You can do the power chord which always looks like this this note and this note this shape And that works all the time except when you're in between these two strings Because of the kink in the tuning so we could start on that C here Behind the shape that's going to be the one I'm just going to count up five notes because there's five notes on the pentatonic One and I'll slide this up to the D two three four five and then back to one So that brings me back to the one right here And then if I build my chord based on that there's my five so there's basically my power chord and then the Third is back down here So if I put my pinky down there that would be the chord construction I can build When I get to there, so then I'm going to move from here and Stop at this C so I'm back at you might want to count out just five notes So I'm back at one here one two three four five and then back to one and then once I'm there I might play it this way So there's my D shape see here here these two notes and then and note when I'm counting five notes that I'm not really in sync with the seven note here because there's a five note scale So this would be I'm counting one two three four five right because this is the seven note scale this numbering system So you could in your mind instead say I'm going one two three five six If you're thinking about the pentatonic scale as it fits into the seven note major scale But in any case we're going to say here's Here's where we ended off. So that's going to be One two three And so now I'm up here back two one And now I'm going backwards. So as I go back I'll do the same thing I'm going to play that Little shape and then I'm going to go back to this one So now I'm in you can call this then the uh six if you want to write six five four three two One And now I'm back to this C which I would play this shape with So that's going to be this C this g and this e And then I'm trying to mute the string which I wasn't effective of right there And then I'm going back from this C back to Then that's C. So now I'm going from Six you can say six four three Two and then instead of going back up I'm going to go back to my prior shape because I have it right there Build my bar chord. There's my one Or just the power chord So that's how I would basically practice and getting fast at that so you can just count the five notes right one two three four five six four five six six five four three six five four three two and so Count you it might be a little bit difficult to actually count through it But I think that's useful in your mind and again if you want to think of it in terms of relations To the major you might count it out this this way one two three five six And then back to the one or the eight you could think of it, right? So we can think of it if we walk through it one two Three and then this is the five skipping the four to five And then six and that's where it ends because there's no seven and then go to eight here And most people again, they don't do this in their mind oftentimes. I don't do it in in my mind It's useful to do this in the morning So you can kind of basically count these things out because if you actually do that It's going to be a lot easier to orientate yourself and then tie it into what you want to do the scale that you're working in How does the pentatonic fit into the major scale? How can I alter it to then do what we want to do? So let's try just counting it out that way So i'm going to start here. We're behind the shape We might play a full chord and then i'm going to go one sliding up here two three and then five six and that's where it ends and then Eight or one so i'm going to eight or one which is back to this c here And then from there we can play our shape like this possibly And then i'm going to go from here and do the same thing Down to here going from then one two three five six eight and then Play my little d up top And then we can go back and so now we're on one Two and then if we go backwards it's going to be even more difficult So i'm going to start on eight and then back to six five three so eight six five two one and then Our little d shape so now i went back from here counting back to there And then we can go from here Back to here once again. I'm going from eight Eight not seven but six five three two one outside of our shape back to here Like that or bar chord So then the other way you can think of this is in the key of a because this fits beautifully For the key of a minor meaning the the relative minor So where is the the relative minor it's going to start out right here You can think of that shape the minor shape would be here To here so this would be first to build a minor shape I'd go this is the one three five And I can also build one down here Which is going to look like this so we'll get into the cage system later The minors are often harder to see but this is basically a c shaped a Minor because if you took this c shape And you moved it up to here now you're reaching that a right there But there's the third which is a major third if I move that back to where our position is a minor third You end up with this shape Which it looks like a c like a minor C shape right and then this bit down here is part of that shape that we can't really finger Uh when you're doing it as a bar chords you play them separately usually Right so that's going to be the idea there so we can do the same thing With the a so now i'm just going to play the same pentatonic, but i'm thinking about the related Minor as now it's central point and then I can count through in the same way I can count from here Uh to here making it sound like a minor So i'm so i'm learning the same shape, but i'm just seeing as i'm learning it Where can I apply this so i'm going to say starting out just five notes. So let's say one two three four five Back to the one so now we're on this one. I might make a shape from it right there And then one two three four So now i'm i'm back to here four And then so now i'm back home where I can make this shape from so i'm holding Uh i'm holding down boom boom boom making that shape and then I can bring it back So i'm going to call this You might call it six if you're thinking about it as five notes. So this is the one Or six that we're on so i'd say okay we're on six five four three two one And then here's my minor chord construction wish I can go Oops, that's a major So that's going to be this this and this you can also build this construction There's the fifth above it and the third so it might be more comfortable for people to use it this way That's another way that you can build that we'll see that more when we start doing like our modes and stuff And then we could go back down. I'm just going to go back down to here. There's no a above it So i'm just going to go wrap it around. I'm going to go. This is going to be all right six five four three and then back up four five six and then again I might do it this way And play that that way Now you also might say you might do the same thing and say well, how can I fit these notes into the overarching Major scale. It's relative major or if we were to think about it as the minor mode Converting that to the one we can count through it from basically the the minor mode So I won't do it this time because it's probably more likely that you're not going to be thinking of it as If you wanted to count it through you would count it through as the one Similar to the minor mode. So I won't do that right now Related to the major mode. We'll talk about the modes or playing around these chords basically later But for right now, we want to get the idea Of just fingering this shape being able to finger through the shape and again initially practicing doing that by focusing in on The c Notes to make it sound like a c in your mind And then the a notes to make it sound like an a minor or like you're playing around the sixth Because those are the most common uses and then from there think about how you can play that same scale To add like a dorian feel playing around the two in which case you're going to have to add like the f for example Because that's the missing note that we use to construct a dorian which is important because it's the free note But it's not here. So then you can think about how can I basically add The note that gives me the flavor that I want from the pentatonic that is for the related major Scale that's one way that a lot of people seem to think because They because I think a lot of people like just the the simplicity of the pentatonic and then and then just Adding what you want from that Personally, I tend to think about it the other way I add The other notes in my mind for the seven notes And then I tried to see how the pentatonic kind of fits inside The seven note major scale, but either way Seems to work quite well depending on how you're thinking about things then after this what we will do, of course is Think about the the intervals we'll talk about the intervals a bit more And then we will also add the the major notes the added two notes to make the major scale And then we'll think about basically each of these Focusing on each of these notes, which means we're basically kind of playing in different modes But we'll talk about modes later right now. We'll just kind of say we're centralizing around These notes so I can learn all of the chords that fit into This C major shape and the related mode shapes, which give you a whole lot of Flexibility to play different things even though you're basically playing notes that all fit within A C major scale we'll talk about how we can blend what we've looked at in open position Which of course we learned more from a chord construction We would spend a lot of time on chords here if you know if you know your open chords Then of course you can kind of jump in and do more of your your Freestyle stuff. I guess you're soloing or kind of Of of tinkering around in between chords and whatnot Up here, which we learned in more of a scale format And then we've also learned a little bit of the of the chords as we've done that as well And then we'll get to the caged system Where we'll more formally learn All of the shapes in each position remembering that the idea is that you can play everything in in in a four to five Uh fret space that's the beauty of the guitar But you can also move and play basically everything In every other position meaning you have the option of having different different voicings of the same Chords by moving up and down the register on the guitar. So that's what we'll get a feel for in future presentations