 worksheet. Get ready and don't fret. Remember, the board's totally fretted already. So you need to be 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 did so 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 up this from a music theory standpoint because we'll simply use it as a tool to map out the fretboard, give us the scale and chords that we're focused in on. If you do have access to this workbook, though, there's currently like seven tabs down below. We've got like six of these green example tabs, one OG orange tab to start out with, and then we'll make another tab to the right, the OG orange tab representing the original worksheet we put together in a prior section. It now acting as our starting point going forward, mapping out the entire fretboard, giving us our entire musical alphabet in letters, numbers, and combining them together, giving us our key so that we can change this green cell, which will then map out our worksheets on the right hand side, providing the scale that we're working in, in this case, C major and the chord constructions within that scale. We now then wanted to work in the C major scale and look at the chord constructions from the notes in that scale, starting, of course, with the one chord, the C major chord, which we did in this first tab, mapping it out in the fretboard in open position as we define it, frets one through three, we mapped out the one three five of the C major chord, and then we discussed it in detail. We did the same thing skipping then to the four chord, the F chord, we didn't go to the two or the three, but first the four because the one four five is going to have similar constructions, those being the major chords as opposed to the major chords. We mapped out the F major chord in frets one through three open position talked about it in detail. Then we went to the five chord, which also is a major chord because it's part of the one four five constructed it from the C major scale, mapped it out open position on the fretboard discussed it in detail. Then we baked back up to the miners, back up to the miners for the two chord, which is a D minor chord, and we mapped it out on the fretboard discussed it in detail, then the next minor chord, the E minor, which is the three chord of the C major scale mapped it out in open position to discuss it. And now we're skipping down to the six chord. So we've done everything from one and now we're getting to the six chord, the seven chords kind of special or kind of different. And so we'll talk about it separately. But these six you can think of kind of together the one, four, five majors, the two, three, six, the miners. And this minor construction is actually my favorite scale to play in because if we rearrange it to its related mode, we get to the A minor. So this is basically you can think of this as though you're going to be playing around the six note of the C major scale as we did with every other note, thinking of it as the related mode. But because in Western music, the minor scale is so well used, you probably will want to think of it as its own scale in and of itself, but you still want to see the relationship of the minor scale to it being a mode related to the major scale. So what we'll do is we'll first map this out, we'll copy over the og tab, this will be Excel intensive. However, if you're looking at this from a music theory standpoint, I still think it's worth doing because we'll do things like map out this information on the fretboard. And we'll do some things like mapping out the major scale, putting the pentatonic on top of it and layering on the chord construction on top of that, which even if you're not into Excel, I think is is a good practice just from just to watch from a music theory standpoint to see how it all kind of fits together. But it will be Excel intensive and then we'll use this worksheet in the future to further drill down on some of these concepts as well. So what we'll do is we'll copy over the og tab will then map out the 135 and open position will map it out then on top of the pentatonic scale, then we'll map it out on top of the major scale will combine then major pentatonic and the chord and then we'll talk about the the movable positions which you can think of as the six to three or the you know, starting on the sixth going to the two to three or you can think of it as it's related mode AOLN or minor. Those are two words for the same thing. So let's go back up top and we got a lot to do. Let's let's do it. Let's go to the og tab. We're going to start by copying this over left clicking on the og tab. I'm holding down control and then right clicking on the og tab and dragging it to the right. I'm going to double click on the og tab that we've copied over so I can rename it as practice. And this is going to be the a minor. I'm going to call it the four chord and then I'm going to right click on it. Let's make that blue. I'm going to make it this light blue here. Okay, going back to the left. So up top we are so we already have so this is our numbering system we have it we're mapping it out on our key for the C the C major and then we're looking at the six chord and relative minor which is to the right. And below this worksheet we usually had the minors that are going to be in the same the same starting note or the modes. So down below we have the minor with a C and so on. We want to replace all the ones below with the same top construction because we want to be able to see the fretboards on top of each other that are related to the same modes. But before we do that, let's get rid of this conditional formatting here. Don't put the cart in front of the horse. The horse doesn't like it home tab style. You said the carts the horses shoulders get tired and you can he likes to push it up with his head sometimes but he doesn't the horse doesn't like that doesn't like pushing the cart up the hill with its head even when its shoulders are tired. Okay, so then we're going to let's copy from one down to here, down to the bottom this blue, I'm going to right click and copy. I'm just going to paste that on down. So I'm going to paste it here, control V. I'm going to paste it there, control V, I'm going to paste it there control V. I'm going to paste it there, control V. I'm going to paste it there, control V, and one more time, control V. I think one more time. Right? That's it. And then scrolling back up. So now we have the same thing on repetitive on down. Then I'm gonna hide everything that's past fret four or fret three. So let's go from E and I'm gonna hide till we get to our worksheet over here. So we don't need the little keys and the entire musical alphabet. I'll hide all of that. Right click and hide that stuff. So now we've got just the open frets. I'm gonna scroll in a bit. Then we're gonna get rid of the top bit. Remember that this is kind of mapped out just with the numbers, the absolute numbers without the letters. And I still think that that's really useful to look at but most people probably don't wanna do that. But notice how nice it is. Even if I just didn't have the numbers here and I just had the letters, look how much harder that is just to look at than if you just have the numbers in part due to the sharps and flat issues, right? Where if you're just looking at this, that's actually a lot easier to kind of visualize if you were to see all the notes as numbers. But nobody's into that to that extent at this point. So we'll hide that. So I'm gonna hide from here down to here. Right click and hide. And then I'm gonna go down to here and I'm gonna hide from the bottom of this blue. I'm gonna hide all the ones that are the numbers only that look like the Ahsoka game, the Sudoku game, the Jedi Ahsoka game. Hide, no, it's a Sudoku, not Ahsoka. Sudoku, it's totally different. They don't even sound the same. Are your ears stupid? Okay, they sound similar to me. I don't know. Maybe my ears just aren't used to it. But I feel like they sound similar. They're not even close. Ahsoka Sudoku, Ahsoka, okay. All right, stop, stop, get over it. Moving on. We're gonna then hide all of the numbered ones. And then, so here's another one, last one. Uno, vase, mas, right click, hide. Okay, so then now we're going to map out the six. Now again, I just wanna point out as we do this, the importance of visualizing this or recognizing that in Western music, even if you're not like a real into music, you haven't done like a lot of music theory, you've probably heard more of the minor scale more than you have like the Dorian or the Phrygian and whatnot. And possibly having it in our minds as big and as important as the major scale, which you can think of it as being. But we also kind of think of it sometimes as though it's not related to the major scale or that it's not like a mode. And it is basically a mode. We can think of it as basically the six mode or Aeolian mode. So we're just basically taking that six note and doing the same kind of thing to it. However, because it's mapped out so often as such an important scale, you probably do want to rearrange it oftentimes in your mind more often than you might do as you're practicing the other modes so that you're not just saying, I'm just going to play around the sixth note of the C major scale, but rather make it the one note. And if you did that, I'm going to just hide these cells to the right just so we can see this right click and hide. Then you would have it as the one note. So this is the A minor or Aeolian mode just taking the six, making it the one. And that's kind of nice and easy to remember when you're practicing as well because in this minor mode, you've got the one, four, five, which are all minor. They happen to be the minor chord constructions when you make the six, the one here, when you make the six, the one. Whereas over here, we've been seeing that the one, four, five and the major construction are the majors. So that's kind of nice. So you could say, okay, if I'm playing in a major scale, the one, four, five are going to be the major chord constructions from that scale. If I'm playing in a minor scale, the one, four, five are going to be the minor notes. The minor scale is related to the major scale because you usually think of it as going from the major to the minor. We're just taking the six note and moding it out, making it the mode or Aeolian mode, making it the one. Okay, we'll talk more about that later. I just want to touch on that because it's important. I'm going to right click and unhide. Also just want to touch on the fact that the A minor scale to play in it is basically my favorite scale as a guitar player. And it's probably a lot of people's major favorite scale kind of to play in or like the first scale that they might learn because it has some advantages that we'll kind of see or we'll talk about basically as we go here, but it's want to point that out. Okay, so here we go. Let's map this thing out. So I'm going to select these cells and map out the one, three, five. So remember how do we get to the one, three, five? We start with the A, skip every other note, A, C, E. But we're not calling it the six, one, three. We're calling it the one, three, five because if I was to see the minor mode over here, here's the minor, the one, three, five would be the A, C, E of its related scale, right? A, C, E of its related scale. Okay, so then we're going to select these and go to the home tab, style group, dropping it down. And let's make the one is going to be green. It's going to be green. And then we'll make the three dropping it down. The three is going to be red. And then the five is going to be yellow. Those are the colors we came up with. Those are the colors that we're sticking with. Why are they that color? Just because we said so, because we said so. You can't change it now or it will confuse people. And then I'm just going to put some boxes around the actual chord that you would be holding down. So you would just be holding down this note, this note and this note. The A would be ringing out up top. And then this one could ring out down below. So you would just be holding down these, pointer finger, ring finger, middle. We'll talk about the fingering later. Ring in the A out, muting the E up top or you can ring the E out if you want to, but then the A wouldn't be the lowest note. So oftentimes you mute that if you want to make it really A minor sounding. And so again, one of the benefits here is that you have this open string. So in other words, like you might kind of compare to the piano, when you learn the piano, you often learn the major scale because it's the most famous kind of Western scale and all the white notes are in the C major scale. And so that's what you would do on the guitar. It's kind of similar, but the minor actually has some advantages over the C major. So looking at it, the same notes as the minor could have some advantages in that one. You've got an open A, which is nice, kind of a bassy sounding A, it's a lower tonality string. And that's really nice. Whereas the C, you don't have any open string over here. And this shape is very easy to play. You can do some hammer-ons with these. If I lift up this A right here, you've got an easy seven chord to play. The C is easy to play too, but you have that advantage. Also, if I go back on over here, just to look at the whole fretboard, this position in the middle of the guitar, where you have this pentatonic shape that a lot of people learn right in the middle happens to have that A right on the fifth fret, which again, is very convenient. It's a nice placement to be right in the middle of the fretboard to play that kind of A minor or thinking of it as an A minor pentatonic type of shape. Whereas if you think of it as a C, the C is all the way out here on the eighth fret, right? So it's common for a lot of guitars to actually play the C major scale, but thinking of it as the A minor as kind of like they're starting, the first scales, first things you start to kind of learn. But you'd like to be able to see it both ways. So that's the idea. So let's go ahead and map this out over here. You're not supposed to be talking about theory, right? We're just mapping it out right now. You talk about that stuff later. Right now we're just doing the Excel thing. Okay, so there's that. So then if we go down, let's now map it out on top of the pentatonic scale. So it's mapped out on top of the pentatonic scale. And so I'll say, here's the pentatonic. Now the pentatonic is another I have to just point out. The pentatonic is a little bit strange as well when you try to map it on top of the seven notes because we see that we made all of these chords from the seven note major scale. And we saw that some of these chords then are not gonna fit into the five note pentatonic scale because for example, the four chord includes an F as the one note, which isn't included in the five note pentatonic. But so when you look at the six though, which you could call the minor scale, because if we reconstruct this as the one, then all five notes fit in the pentatonic. So the A, the C, and the B are here. A, C, I'm sorry, A, C and the E are all within our five notes that are within the pentatonic. So when you think about this pentatonic shape, the five note shape that's within the seven note chord, you can think about it as either like a C pentatonic shape. But again, a lot of guitars will actually think of it as the minor pentatonic shape. And one of the reasons for that again is that if I go to the tab to the right when I learned that scale construction in the middle of the guitar, you actually start on an A when you play the scale construction. So a lot of times it's kind of actually formatted the pentatonic shape more to be like an A minor than a C major, but you can think of the pentatonic shape as being a C major pentatonic or an A minor pentatonic. You can't really think of it as being like a D Dorian pentatonic as much because again, there's gonna be notes like this F that aren't in the pentatonic shape. And if you get to other more obscure scales, like in jazz or whatnot, then you can have pentatonic scales that are related to like the two, the Dorian or something like that. But with the normal pentatonic, again, you kind of relate it generally to either the major or the six, which is the relative minor. Okay, so let's make them all green as has been our tradition, home tab, style, dropping it down. And then we're gonna say this is gonna be equal to, let's pick up the C. Do you see the C? I see it right there. Pick it up, make it green. Make it green, okay. And then next one is gonna be the D, make it green, make it green and okay, okay. Next one is gonna be the E, don't you see? We already saw the C. Now we're on the E, make it green, make it green. Don't you see the E? And then we're skipping the F for going down to the G. G, make it green, make it green on the G. And then the A, of course. One more time. Uno, vase, moss, pour, five, or if you will, please the A. Okay, so there it is. So now we have our classic, this is our pentatonic shape in this position, five notes out of the seven notes of the chord. So you could learn this position, we'll talk more about that specifically later so you could play it up and down and whatnot. But for right now, we just wanna map out and show that this chord fits in it perfectly because this is like the relative minor mode, right? So we're gonna say, okay, this is gonna be, whereas remember some of these other ones did not fit perfectly, this one does. So that's one of the special things about the six mode A-olian or otherwise known as the minor. So we're gonna say this is gonna be A, we'll make that this green, different green, dropping it down, we'll make this is gonna be, this C is gonna be red and then the five is gonna be E and it's yellow, it's yellow. And then let's say that this is gonna, let's pull this over here to the A and then pull this to the C and then I'll pull this to the E and then I'm gonna copy my fingering up top, we'll say I'm gonna hold down control and select these so I can just copy that whole thing, copy it and I'm gonna paste it right there, boom. And so there's our fingering on top of it. So now you can see the pentatonic in green, the notes that are colored this way are the notes that are in frets one through three that are in the actual chord and then the ones with the red around it are the ones that we actually put our fingers on. All right, so let's go down again and this time let's map it out on top of the major scale. So now we're gonna map out all seven notes this time. So we're gonna select the whole thing, we'll put this over here first, I'll put this on the six right there. So that's where our focus is A, the relative minor mode. And so then I'm gonna say, let's make them all blue this time. Make them all blue, so there's the blue and blue. Okay, and then this one's gonna be equal to blue, blue. Is that the right blue? No, it's too dark. It's too dark, man. Lighten it, lighten up, will you? Will you lighten up crying out loud for silent sobbing sake? All right, so this is gonna be blue and then this is gonna be blue and then we're on the A, blue two and then one more time with the B. The B needs to be blue, be blue. Okay, so there it is. So there's our shape, there's the whole pentatonic, I mean a whole major shape and then we can put the chord on top of that, which of course will fit on it because we built the chord from the major scale. It's just picking up the A every the note C to the E. So let's pick that up and just say, okay, let's put this on top of it with our standard color scheme, the A being green. The standard color scheme with the A being green. Hold on a second, is that green? Does not look green, I think I picked the wrong one. You picked the wrong booger this time. Your nose is bleeding now. Okay, so now we're gonna say this one's gonna be red and then this one is gonna be yellow. Mui B to the N, BN. Hippies settle for just BN, man, but I'm not happy with just BN. Mui BN, Mui BN. That's what I'm talking about. Home tab, we're gonna format paint this one here and then format paint that one there and then format paint that one there. All right, so now, so there it is on top of the major scale. Now let's layer this thing out. So we're gonna pick up the major scale on the bass and then we'll put the pentatonic on top of it to see how it fits in it and then we'll put the six chord, which is like the minor chord on top of it, which will fit perfectly in both the major and the pentatonic because the six is the special minor mode, otherwise known as Aeolian mode, if you wanna sound fancy and impress people or piss them off because you're trying to sound fancy, depends on what kind of crowd you're running with, I guess, if whether it's gonna impress them or piss them off. But in any case, we're gonna put, let's make the blue first here and then we're gonna say this is gonna be the D, we'll lay down the foundation as all blue first and then we'll build on top of that. This is gonna be the base, this is the foundation of the home. This is like, this has to be solid. You cannot build something on like quicksand, okay? This needs to be a solid foundation, blue solid foundation, blue bricks down here. This is like concrete that we're putting down at the base and this is gonna be A, no skimping, no skimping on the foundation and the B, okay? Once you have the foundation in place, we have our scale, we can learn that scale and then we can say, okay, how does the pentatonic five out of the seven notes fitting on top of it? So now we'll put the green stuff on top and it's gonna, the whole thing will not fall down because we put that foundation down there with blue cement, cement, so it's solid. Not sure I stressed that enough. Did I stress the solid state of the foundation? So there's the E and then now I'm gonna go, skip in the F to the G, so the F's not in the cool group, but it's still important because it's part of the foundation, it's part of the foundation, even if we're not building on top of it, it's like one of the support beams that doesn't look important, but it's doing what it needs to do. Okay, so now you've got then the green is the pentatonic and then the two notes that aren't in the pentatonic, which are still kind of like fair game if you're thinking about yourself and the C major or relative minor are now out here with the B, the F's and the B's, F's and the B's. Now let's put the chord on top of it, which will fit cleanly in both the pentatonic and the major scale, which is something that will not always happen with all the other ones, which all the other ones would fit in the major scale, but not always so cleanly in the pentatonic scale, but now we're on the six, which is the special mode fits in perfectly. And so let's do it. So then we're gonna say that this is gonna be the A, oh, not an O, an A, A-oh, just an A. A-oh, this is gonna be yellow. And then this is gonna be an E is gonna be, yellow, that one's gonna be yellow. So then we have the A is green, the C is red and the E is yellow. So this, oh, wait a second. So this is kind of a chaotic thing to look at. Well, let's now put the finger in on top of that. I'm holding down control, picking up the red stuff, control C, and I'm gonna put that on top. Now again, this is kind of chaotic to look at, but hopefully when you see it built, you see the major on the foundation, the pentatonic fits inside of it, of course, because we just have five out of the seven notes. And then on top of that, this sixth chord fits on top of it perfectly because none of the notes in the sixth chord are made from the four or seven notes and the major scale, unlike some of the other chords that are not that way. And that's one of the reasons possibly that the minor mode, otherwise known as the Aeolian mode, is special and so important in the Western music. All right, let's go down and then say, now we're gonna map out like all the minors. So we'll do the A and say, what if I wanted to move that shape up the fretboard starting with that A shape down here on the A. And then let's say I'm gonna copy that and say, what if I moved it to the other related minors? I would have moved it up around the circle to the one and then I would have to move it up to, I'm sorry, not to the one, to the two, to the minor around the circle to the next minor, which is the two. And let's make that yellow. This is gonna be my rostic-colored one. And this is gonna be yellow and then this is gonna be green. I'm pretty sure that's rostic-colored, so I'm not totally sure, but pretty sure. Red, yellow, green, this is gonna be green. Okay, so then let's unhide some of the fretboard. I'm gonna hold down from D to AK, right-click and unhide and then I'm gonna go out and so let's go ahead and pull this in because this one got all crazy out there. That's not what we wanted it to do. All right, so then I'm gonna hide from, let's go 12 frets out. I think that'll be sufficient. So I'm gonna go from 12 frets out on over to our major, right-click and hide and then boom, so there we have it. And so now let's go ahead and select the fretboard in these positions. I'll copy this over here and say this is like position one and we'll put that up top like that. And so we'll map the same, oh, hold on a second. We'll map the same thing out like we did before. And so then I'll just map this out and then we'll map it out up the fretboard. So I'm gonna go home tab styles. Let's make this once again, A is green. And why is the A green? Cause that means like it's jealous, but it's the one chord, it's the super cool chord. Green doesn't mean jealous. That's just Shakespeare just made that up with the green-eyed monster cause it sounds cool. Green doesn't have to mean that the one chord is in any way jealous. It doesn't have to do with that, okay? We just picked green. I don't know what you're talking about. So this is an, now if we pick up this A and I move it up till I find the next one, which is a D, I can move it up and there's the D there. Or if I just wanna look at these three strings, I can move this one up till I find the D here, right? And then I could say, okay, I'm gonna build my same A construction up top right there. And that'll be an A minor shape, but a D chord, which we'll talk about later. We're running long on time. So if you could just rush, if you can go a little faster, we would appreciate it because we have things to do. Let's make this green. And no one likes to hear your babbling. This is gonna be red. People do too like to hear me babble. This is what I do. This is like my job, I babble for a living. Home tab, let's format paint this over here. And format paint this here. And then I'll format paint this here. And then we're gonna say let's format paint this here. And then let's format paint this here. And then let's format paint this here. And then I'm gonna copy my fingering. I'm holding down control, selecting these. I'll just copy that and put that down here, boom. And I'll put it right there, boom. But I'll make it yellow right there. So I'm gonna make this one, these ones need to be yellow. Okay, so then I could move it up to the E. So there's the D, the E is right there. So I could take the same shape and I can move it up to the E. A, E, A, O, A, E. Okay. So then we're gonna say the E this time because there's some overlap. Well, let me do it this way. I'm just gonna copy this again, but then I'll make them green. I'm just gonna copy that and put it on the E, but then I'll make them green just to show the green. So if we move this shape up, I can think of it as starting on the six and moving it and moving this A shape up to the two chord up to the three chord or I can rearrange this in my mind, which is quite common to the common relative minor. I'm just gonna hide these. And so here's my relative minor. So you could see, so I could just say, I'm just gonna keep it the same here and say now I've got not my six, but my one with my same, it would be the same construction, right? So now I'm just gonna say, well, here's my one and then let's copy the yellow and here's my four and then I didn't copy it. What in the world? Okay, whatever, I don't know what happened. Let's put that there. And then here's it did it again. It's putting it over here somewhere. Why is it putting it over there? Now I've got, oh, Excel, you need to check yourself. You better watch yourself, best buy yourself a full length mirror, because you need to watch yourself anyways. I'm gonna make this, let's color this. So now you've got the one four five, right? So I'll make this, the A is green and then this is gonna be, and then this will be this and then the D, let's make this is gonna be this color and then this is gonna be this color and then this one is gonna be this color. So it's quite common, of course, to rearrange this as the minor and then you can see it as the one four five. Remember, we didn't really do that so much when we looked at the other modes because it's not as common in Western music to say, oh, I'm looking at this in the Dorian mode. You could, and if you get good at it, we'll look at that more later, but even if you're pretty new to Western music, you're gonna say, oh, the minor mode is very important so you're probably likely, more likely to say, I'm not gonna see it as the sixth note that I'm focusing around on the major scale, but rather rearrange it in your mind to make it the one chord of its own minor scale and then you have the one four five as the minor chord constructions within the minor scale, which again, it's kind of easy to remember because the one four five of the major chord, when you look at it this way, of the major scale are the major chords. Okay, so let's unhide this stuff. I'm gonna right click and unhide and then I'm probably gonna have, so that looks good. Okay, and then I'm gonna go up top again and let's hide from four on over to the minor, right click, right click, right click and hide. And so there is our worksheet. I think that's good. I think that is good. No, I went over to the minor. I'm gonna unhide this, right click, unhide and let's pull this on to the side. Why is this way over here? What are you doing way out here? You're way past Emin's field, you little hobbit. I don't, what am I, what are you talking about? I'm gonna hide from four over to the major scale, right click and hide and then scroll in a bit. So now we have our worksheet that we'll use to practice going forward, looking at the fingering, then looking at it in relation to the scales and then of course looking at it in relation to the intervals.