 Guitar and Excel see major a minor seven note scale as opposed to a five-note pentatonic scale We talked about in a prior presentation starting on fret number seven fingering Get ready and some coffee because I don't like the phrase good luck You know because because I make my own luck dang it Unfortunately, I lost the recipe though. So it doesn't always come out good But but excel is helping us sound out right down and record our recipe mix as we go So although at times our luck may be a little too salty. It is improving However, sometimes I feel like I'm moving too slow wasting my time trying to improve my luck time better spent looking for Grandma's old luck recipe book instead of trying to reinvent the four-leaf clover But whatever I'll take the scenic route. It's more interesting that way As long as you can avoid poisoning yourself With which is more difficult that I originally thought man, there's a lot of poisonous stuff out there But that's that's why you let the dog lick the spoon before you try it, you know Anyways, let's get to it. 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 one, but a general overview of the overall project can't help to orientate Ourselves, let's go back to that first tab then to take a look at that Overview we're looking at the C major scale and related modes We started looking at it in open position, which we defined as frets zero through three Remembering this E represents the low heavy string the one closest to the ceiling Funnest way to learn the notes in open position is to map out the chords in the scale in open position Which we did starting with the one chord C major chord mapping it out Discussing it in detail. We then went to the four chord because it happens to have a major chord construction mapped it out discussed it in detail then the five chord the same and then the two chord which is a minor chord construction The three chord the same the six chord the same and then the diminished chord the seventh chord After having done that if we mapped out all the notes in all the chords in open position We would be mapping out all the notes and the C major and related mode scales Which would look something like this in the open position We then wanted to move to the middle of the guitar starting basically on fret four or five and Think of this not in terms first of chord construction But in terms first of creating scales that we can then tie into the chords that we learned in open position So we looked at this position and then we zeroed in on particular notes From the scale each note within the scale in that position Then we did a similar process moving up to the second the next position I would call the first one we looked at position one or g-shaped position We then moved to what I would call position two or an e-shaped position We discussed it in detail and how we can basically tie into each of the notes within it to what we learned about in open position and the fifth fret and now we're moving to the next position and This is where we are working at this point in time our focus on fret number nine here So let's give a quick recap of our Color schemes as we go through this position So we have this is our fretboard once again This e represents the low or heavy string the one closest to the ceiling the green notes Represent the pentatonic five out of the seven notes Which we talked about in a prior presentation You can see those up top and now we've added the two notes that make up the full Major scale and related modes. Those are the ones in blue So I would think of it as though we first lay down all the notes in blue Meaning all seven notes are underneath on the bottom And then we put on top of that the pentatonic notes which are picking five notes out of the seven note scales and Those are going to be the green notes that are on top the green notes then fitting inside of the blue notes as We talked about in a prior presentation when we look at the five note pentatonic scale Then it only works perfectly if you think about it as related to the modes of the major scale or Ionian and Then the related minor or the Aeolian Modes and that's because with all the other modes that we take a look at these two notes become vitally important because they're going to be part of Oftentimes the major or minor chord construction, which is going to be a key Note within it so our mindset then a lot of people really like learning the pentatonic because it's so flexible and Then if they're playing a different mode You might add like the missing note so that you build and your root thinking is really pentatonic scale But I tend to like looking at the full major scale And if we learn the full major scale this way Then we're also learning something that we can fit into all the different modes because basically we can then focus in on these Different notes and look at those different modes. So we'll talk about that Shortly here. Those are the color schemes and then we have the open position that we started looking at And then where we went to position number one I call it position number one because it's generally the position most people start learning From just a pentatonic shape for example So I had to open it up a little bit there But we have and you can also call it a G shape because you can see this G Basically shape fit into it. Remember, we're talking about a C major scale and the related modes If I tried to build a C major you've got your C Here that's going to be the shape that you can kind of construct and you can see that looks like a G shape if it was to be played in The open position so if we pull out the trusty guitar We've got our G shape here if I move that up to here Then you could see those notes are within it these notes I would have to basically bar off which is difficult to do as a bar chord But we can still use that G shape to kind of build our chords So then we can move up. We could see the overlap between position one and two and you can also call this then a E shaped position because again if I look at that C right there and I build my Chord from there you get something that looks like an E shape Which if it was an E major it would be back here if we're up here We get that E shape so you could name it that Remembering now that we've added these two other notes. However, that this these shapes will fit in multiple Scale shapes within a five fret interval because we have seven notes But when we only had five notes the pentatonic These shapes would be unique to the five note pentatonic these shapes only having three notes within them Because we're talking about chords which have three notes So we have the three note chords We can use to then name the five note pentatonic which will fit uniquely Into one of the five positions and then can also used to name the seven note major scale around it being careful However, then because these shapes could fit in more than just one Position on the fretboard. Okay, and so then and then so then we're moving up to the next shape Which I would call position number Three which is going to be our point of focus at this point Which you could call the D position because if I look at that C right here I also have a C down here and the shape that we would be making would be a D. It's basically a D Type of shape which what hold on it would look like that and you could see this position Most people kind of recognize it up top here with these Shapes if we were looking at it in terms of a C major as opposed to the relative modes But I'd have to kind of lean back and pick up that C right there Which makes it difficult to hit that one So that's going to be basically the shape that we are focused on at this point in time And we just added these blue notes. So that's where we're at So now we're going to be looking at just the fingering of it last time we looked at the finger in in terms of a pentatonic Shape we're just going to be adding this added this added two notes Now note the difference between this and a pentatonic shape now you have those half steps You'll recall that if you just look at the green notes We've removed basically the half steps and so now we have brought them back in That's nice because the half steps although they can kind of mess you up when you're switching around They also can add a lot of flavor because that half step gives you the lead in Oftentimes in a major scale and they can also cause more dissonance Which is the thing that causes problems But is also the thing that gives a lot of music more flavor you want to know where those kind of Those items are because all of the music you're trying to make is trying to create tension and then resolve the tension Generally in in interesting ways also now since we have the full scale Remember that we're not only just learning the C major scale We're really learning if you learn the shapes all of the different modes Which is the great thing about learning the major scale because you don't have to kind of think about a five note Scale and then add what you need to add if you want to be thinking about a different mode You could just say I'm just going to learn this This whole shape and then if I start on any different note Starting and stopping on the different note if I play around that note in other words I can make it the tonic So you're really learning at least a six if not seven because The the the low Korean is not a mode that people typically play all the time but if you if you learn the scale you can kind of think about playing it in Basically six different ways which would be basically like six different scales, which you might think well It's all basically the same thing, but it's it's really not because Like like if it really sounds a whole lot differently if you're playing around the D as opposed to Playing around the C and it does take time to try to switch your mind from saying okay I'm using the C as the tonic and then I'm going to play the same notes But make the D the tonic or the E the tonic or the F the tonic the central point But it's a lot easier to do that once you know the shape and you kind of keep your mind in sync on what you're doing also, remember that once we learn all of these notes and chords and related modes in this particular position you can move this whole shape Somewhere else Noting where that C is right? So if I move that whole shape over here Making the C the a right on that's on that string and I move the whole relative position There then I can I can play the same Relative position I might not even know what I'm playing But I can know that I'm playing around something where the a would be like an a major kind of Thing and I can play the same thing. That's the beauty of the guitar. It's symmetrical In that way, but we want to keep our mind kind of focused on what we're doing So the fingering is something I would practice like in the evening often times But even when you're practicing in the evening when your mind is like not really fully working It's useful. You you want to just like not just go through the scale like this starting on a D And you don't and you don't really know what you're playing that gives you some Some benefit, but you'll be playing in like a D Dorian And if you don't really know that because you're starting and stopping like on a D Then that's gonna be you're not doing as much as you could Even in like a nice brain dead like evening session of just fingering, right? So you want to be saying where am I starting am I starting on a C? am I starting on a D and then and then start and stop on that note now if I want to play in a C note that this C is in the prior shape But that's a great starting point because then you could start from the C there or you could start in the C like in the Middle here. There's your octave So we can say alright I'm gonna first start it back here. So I could say I'm on a C I'm gonna start it on the C major and I'm gonna slide into my shape and it might help to actually count out as well So I can say there's my C and then I'm moving in so I'm going from this C Here and then I'm gonna kind of stop at this C and if you can count again That's makes a little bit more difficult. It's that'll give you another element when you're learning this And then I should be able to hear it kind of resolve in my mind to there, right? And then we can go of course back so we could say all right eight seven six five four three two one To give it a little bit more emphasis. You might also put the Chord on what's your playing so this or at least the power chord So you say Now I'm playing the key of C there's my my C which is an E shaped C chord and I go One And now I can play my D shaped C right there And then of course I can keep on going up and I'm going to keep that focus of the C on the shape So I'm going to say then I'm going to go C So I'm going to go one two three four five six seven eight so so once I get to Uh the eight there where am I I'm not I'm not see I should be on this C over here Sorry about that Then I could play this little D right there D shape it's a D shaped C And then I can go one two three four That brings me up to this F and then back four three two four three two one play that little Shape right there and then I'm going from this C back down So I could call this C the one or I might call it the eight which is a little bit easier when I'm counting down So I'd say it's going to be eight seven six five four three two one And then I'll play my shape again Which is going to be built off of the C. It's this one this one and this one the C the G and The E notice I altered my fingering a little bit so that I ended off on my pointer So that I can then play my Shape here So you're going to have to play around with what you think the best fingering is As you work through the shape and then of course we can bring this one back to here So once again, I'm going to say that's an eight eight seven six five four three two That's the last one in the shape and I would go back to the prior shape sliding into it and there's going to be my E There so so obviously once you get that shape down you can work on your speed and so on and your and your tempo within it And if as long as you're playing it and you know where you're starting and stopping Then you can start playing around certain areas Like each of the notes out within the scale, which we'll talk about doing more in future presentations But just doing the fingering Would be great But again, just it's a lot better if you do the fingering and don't just think about This shape and this position But this shape and what's the What's the what your tonic that you're focusing in on within that shape? And that'll give you that'll I think it'll go a lot further I mean, I I didn't do that when I was starting and I think it would be way better if I did I'm going to move this one Out a little bit so we can look at this shape a little bit more easily now once you do that You can then think about this the next All of the modes which we'll talk about more later But notice this this whole seven notes lends itself To do the same thing on the modes So if I was to say I'm going to think about this as the minor mode here Let's make this a little smaller And go to do it and so then I can make it Even a little smaller I think it's still seeable Okay, so now I can say well now let's play around. This is the The Related minor so that would be like making the six the one So now I could say okay, let's Jump i'm jumping to the a because that's the next most common Scale so I could say all right well if that's the c I can say a and and be playing around basically The a minor Here so I can think about it as the six or I can think about it as the one Of the of the related a minor scale and I can play that same thing and just start from here now As basically, you know my tonic and I can play it it as the six Or as the one so if I want to play around the six Then I could start and stop on the six so I could say well, that's like saying it's the six of the c six seven eight or one two three four five six Right, so now I'm back to the to the six here or I can do that in terms of Making it the one for the related mode, which is the a only and or a minor mode making it the one two three four five six seven eight And then I'm back to that one again now again. You might want to make Your chords within here. So if I built my chord construction, this would be like an a minor uh Chord or you might call this a a c-shaped a minor chord. We'll talk about how to build that later, but You know you can play that and then play it out six seven eight one Whoops would hold on six seven eight or one two three four five six And then when you're down here, you could say, okay, how can I build my chord there? We could build it like this way It's one way you can build the the minor chord down there We'll talk about that more later once we focus on each of the notes Within it and then we can keep going up and say this six seven eight one two three So now I've gotten to that f that's as far as I can go so I can go back down So three two one eight seven six They could play like a minor And then we can go back down from there so we can go Six five four three two one or eight seven six And then we can play our minor here So we can play through that same shape With with each of these if I went to the next one down the d the dorian we could do the same thing So let's hide this out to the dorian So I'm going to say hide And so now I'm making the d My central point and we'll focus more we'll do this more Later, but just to get your idea just when you're fingering this one scale You could start Just fingering it in different ways so that you can get a different sound in your mind And you can really easily play it like I say six different scales Uh seven if you include the locrian that's not quite common to play in So right and then I can make the d I could play around the two Or if I want to call it the dorian I'm just going to reorientate everything to call it the one So right so I could say if that's if that's where my starting point is If it's the two I can go from two to two So our octave is up here So if we count that out we could say two three four five six seven eight or one two There's our octave we can convert the two to the one making it the dorian So then I can just count it out as one two three four five six seven eight or one There's the octave we know that the two and the dorian starts off with a minor It's a minor mode. So we could make a minor scale like that And then play through it. There it is boom two three four five six seven eight or one two then we can construct A minor like this or like that and so on we could do the same thing if we kept on moving through We'll focus more on this and in future presentations But obviously if we moved to the e Then all we're doing is saying okay now i'm going to play the same things But look at that as my center which is basically playing In the fridgian. So now we're going to be like, okay So now I'm in essence playing in the fridgian. I'm going to say there's the e We know that the fridgian is a minor mode because it has a Little a lower case here. So it's a minor mode construction. So I can see it as either Playing from the three to the three of the related c major or Make the three the one in which case we would be playing in the fridgian Basically the same thing right so you can play the same notes here But now I'm just saying all right. I'm going to start right there So there's the octave And then if we make it the one we could do the same thing here We could say this is going to be the one two three four five six seven eight there's The octave and of course if we make the three Into a chord it's going to be another minor mode the fridgian is going to have the minor more mode So we could build it this way which is like a g minor shaped e And so you can play the the the chord and then go through it. So this is going to be And then I can call it one two three four five six seven eight and then So we'll do more of that later and then of course we can keep going with this we could say, okay What if I made the f then the starting point? Well, then then what would we be doing if I hide this out in terms of modes? We would be playing the lidion. So I'll hide this and Go back on over so now we'll play the same scale But now the f is the central point. So we're going from here To here and I'm just playing the top bit We'll talk more about these modes and how we can look at and focus on each of these Later and we'll talk about modes in particular in more detail later. But for right now, we're going to say, okay The f I'm going to play around the f which is this note as basically the one I'm just going to play the same scale and be thinking about it as the one Or playing around the four so I can start from here and say, okay now I'm going to practice the same scale, but there's the the in essence one Well, let's start with the four that I'm playing around four five six seven eight or one two three four There's my octave Sometimes the the playing around the four can be a little bit difficult to make it sound like the center But it is doable if I convert it to the one I could say, okay, so if I make that the one two three four five six seven eight or one the octave And we know that this the four is a major chord construction Therefore we know that the lydian is going to be a major Mode right so I can build a major scale from that which would look something like this which is a g-shaped Scale and then you can play up from there one two three four five six seven eight or one And so then if I do the same thing and we go, okay, let's do this next one and go down to The g So the g is going to be if that's the lydian the next one is the mixo lydian right so we're going to hide that So now we're on the mixo lydian But if you don't know the mode you can just say well now I'm just going to be playing around The g making it in essence the one so the g is going to be right there And then we have another g right there and notice I'm only playing this piece of it you can go up and up and down Making sure you get the whole shape in there just starting and stopping on that g So if I was on this g for example, I could go back right to To that g And then play up like my my Forward right there And then I can go up from here So if I start on that and if I think of it as the fifth and I'm playing around the fifth It's going to go one two three four five six seven eight I started on there's the mode That was if it was a one if I started as at the fifth it'd be five six seven eight or one two three four five There's the octave if I started as the fifth if I started as the first we can say this is going to be one two three four five six seven eight or one And there's the octave we know that this is a major Mode because it's constructed or the one note is a major scale so I can say okay, there's my a major And I can build it I could start that out and build the starting and stopping by building a chord on it And then finally we have the locary in which I won't spend a lot of time on because this is the one I noticed that playing around the four is a little bit difficult But playing around the seven making it the tonic is very difficult, right? That's not normally what people musically do But technically you could start at the B and play around it. So I'm going to hide this And so We can say locion Hide probably not something that you're going to just play around as though it's the one Then but it's off it's often useful to see You know the chord shape there because the chord shape that creates that tension In the diminished chord is important because it it it resolves back to the one But you're probably not going to be practicing your scales so much Making the B the central the the central point So I won't even go through it right now But we'll and future points, but you could you could practice that But in the future what we're going to do is talk more in detail about focus in on each of these notes And as you could see if you do that then you basically can play You know six different scales In that one position which you can then move that entire position anywhere else as long as you orientate Around the C because you usually orientate around the major and you can play any of the major and related modes In basically any position by shifting this entire shape In that way which we'll talk more about when we get to We'll talk about learning this whole thing in different scales Like the G which is another common one to do but obviously You you can start moving that around if you if you want but The important thing to me is that and what I didn't really know at the beginning is that when you learn these shapes Then it's you get so much more out of it If you're focusing in on the starting and stopping point of not just the top and the bottom of the shape Not the D go into the F But the D go into the D and just keep on playing around the shape Until you get back to whatever whatever scale that you're thinking of your mind in And that and that's easy to do once you have once you have that down on the theory side Then in the evenings you or you know while you're watching tv you could play through the scale And get so much more out of it But just realizing that you're playing around a particular note All right, so anyways, we'll get into this shape and more detail focusing in on each of these chords and each of these Notes and how we can link it to the prior shapes in future presentations