 Guitar and Excel, open chords, C major scale, E minor three chord, intervals. Get ready and don't fret. Remember, the board's been 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 did so in a prior section. 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'll simply use it as a tool to map out the fretboard, give us the scales 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 five of these green example tabs, an OG orange tab, and then the practice tab, the OG orange tab representing the original worksheet we put together in a prior section. It now acting as our starting point mapping out the entire fretboard, giving us the entire musical alphabet in letters, numbers, combining the letters and the numbers. It gives us our keys so that we can change the scale creation worksheets on the right hand side with that green cell. And then the worksheets on the right hand side provide us the scales, the intervals, and the chord constructions from the scale we're focused in on. In this case, in this section, we're focused in on the C major scale and looking at the chord constructions from the notes in the C major scale, starting with the one chord, of course, and that being the C major chord, which we did on the first tab over here, mapping out the fretboard, just looking at the open position, which I'm defining as frets zero through three, this string being the low or heavy string closest to the ceiling, the way we are mapping this out. And then we're mapping out the fingering showing the one three five of the chord, and we discussed it in detail. We did a similar thing moving to the F chord, skipping the two and the three chords, but going to the four chord. Why? Because the four chord is going to be constructed in a major construction similar to the one chord. And therefore we'll see some similarities when we analyze it. We mapped this out in open position on the fretboard and discussed it in some detail. We then went to the G, which is the five chord of the C major scale, same rationale. We want to go to the five chord because it will also be a major chord construction. We mapped it out on the fretboard in open position and discussed it in detail. Then we went back up to the minors, going to the two chord, which has a minor construction. That's the D minor chord. We mapped it out on the fretboard and discussed it in detail. And now we're on the three chord of the C major scale. And that's going to be the E minor chord construction that we are looking at. So in prior presentations, we mapped it out on the fretboard from positions zero to three on the fretboard, the open position. We discussed how to finger it and we discussed it in relation to the C major scale and also in relation to the E minor scale just to look at those differences. But we're focusing in on creating it from the C major scale. Now we want to get into the more technical side of things, which is something I recommend doing like in the morning when your mind is still working, spend 15 minutes to a half hour just taking these simple chords and analyzing them in a bit more depth so that when you're kind of noodling around and just playing around, those kind of concepts will start to solidify a little bit more easily. So that's what I would recommend basically doing here. So let's do a recap of all the numbering systems that we have to keep straight in our mind. Because if we don't keep these straight in our mind, they'll get all muddled together and will become confused. So let's just list the numbering systems. We need a numbering system or some kind of system to identify each actual note in the musical alphabet. We could do that with letters. That's what we traditionally do. We could also do it with numbers, which has its advantages. We then need to have a numbering system that's going to number all the notes and the scale that we are in. This is going to be relative to the scale, in this case the C major scale. And then we want a numbering system. This one also gives us the notes in the scale. But because we can have it be uppercase and lowercase with the Roman numerals, it will also give us information about the chord constructions as to whether they'll be upper or major or minor. The uppercase being major chord constructions, minor or the lowercase being the minor and the one with a dot is going to be the diminished. And then we've got our numbering system up here, which is the numbering system for the intervals in a chord, which is relative not to the scale that we're in necessarily, but to the one note of the chord work construction. And then we have a numbering system up top, which is going to give us the intervals in relation to the chord intervals. So let's go over each of those in a little bit more detail just to recap and review them. If I go into the OG orange tab over here, we can think about the numbering system we used to create the worksheet in the first place. So we have our musical alphabet. It's a beautiful thing, the musical alphabet in western music, but it also can be a little bit confusing the way it's constructed because you'll recall that it kind of looks like it was constructed to accommodate the C major scale. And then like the other notes were kind of shoved in there and in the whole steps and when you when you when you see the other sharps and flats, right? So you've got an A and then a sharp and then a B and then a C and then a C sharp and then a D and then a D sharp and an E and F and then an F sharp and then a G and then it starts over, I'm sorry, G sharp and then it starts over again at the A. Now, it can be difficult to go backwards as well when you're trying to count backwards and the whole musical alphabet when you have the sharps and flats in there. So if you try to sing the alphabet backwards, even without the sharps and flats, it's kind of complicated. But when you add the sharps and flats, it gets more complicated. And when you go down the scale, traditionally, then we would have the flats, right? So it'd be an A flat G, G flat, F, E, E flat, and so on and so forth. So another thing we could do is we could just number the musical alphabet. So let's just recap that if we put absolute numbers for the musical alphabet, the A would be one, the A sharp or B flat would be two, the B would be three, C would be four, C sharp or D flat, same tonality of the note, it's just going to be a five if you number it, and then D is going to be six, D sharp, E flat, seven, eight is an E, F is a nine, F sharp or G flat is a 10, and then G is 11, and G sharp or A flat is going to be 12. Now the advantages of being able to memorize the numbers is that you can easily count up and down numerically. And if you are looking at an interval between two things, like, you know, like a C or an E, you can use simple math to look at the actual absolute distance using the entire musical alphabet. So we then use our chord construction over here using our construction of the major scale, which is the root thing that we're going to use for all of the musical constructions generally for normal western music, meaning all of the modes are going to be based on kind of a major scale construction. So we start in this case on a C, and the chord construction is you could say whole, whole, half, whole, whole, half you may have heard, which is basically just two notes, two notes, one note, two note, two note, one note. And if we see this in terms of numbers, we start on a four, which is absolute note number C, plus two gets us to a six, which is a D plus two gets us to an eight, which is an E plus one gets us to a nine, which is an F plus two, which is 11, which is a G plus two gets us back to one because it goes 12. And then back to one, which is an A, because there's only 12 notes, and then plus two is three, which is a B plus one is four, which is a C. So these seven notes are what we're using over here to construct the notes seven out of 12 notes in the, in the musical alphabet or seven notes that are in the scale. So if we go back on over to this tab here, that's what these seven notes are, there's seven notes out of 12. So if we have that, then we can see the numbering system here, this is a relative numbering system. So this is a C, the C is a four with our absolute numbering system for all the notes in the musical alphabet. But if I'm looking at the C scale, it's the one note in the scale relative to the C scale. And then you've got the two note, the three note, the four note, the five note, six note and seven note, there's only seven notes out of 12, as we constructed it using the whole, whole half, whatever musical construction, right? So that's this one. And then this numbering system gives us the same notes in the scale one through seven, but also gives us an indication that if we use our standard chord construction method, we will end up constructing on the one, four, five major chords, the two, three, six minor chords, and then the seven will be diminished. What does that mean? What's our normal construction? Well, if I was constructing a C chord, it would simply be that I'm going to take the C and skip every other note, C, E, G, that gives us the C, E, G. And then if I was doing the two chord, I would just start on the two chord, take every other note, F, A, so D, F, A. And if I'm starting here on the three chord, we would be on the E, G, B, E, G, B. So that just happens to be these two making a minor construction. What does that mean? That means that the distance between the one and the three is the differentiating factor right here. And we're representing that with this four up top. And this four up top represents the change or distances for the one chord only. And every other chord that we look at, then we're going to compare to the one and say, is it the same or is it different? In this case, because we're doing a minor chord construction, it's going to be different than the interval on the one chord. If it was the one chord, it would be four notes away, meaning four to eight is a major third, you can call it, which is basically four notes away. Whereas this one, eight to 11, eight, nine, 10, 11, three notes away, it's going to be different. That's going to give us the minor construction. That just happens to be what happens when you do the method of starting on each of these notes and taking every other note. So that's going to be that one. And then these numbers up top represent the positions relative not to the scale that we're in. We constructed it from a C major scale, but to the one note of the chord we're constructing. So we have the one, three, five, we name these notes, the one, three, five, I'm not going to name it the three, four, five, six, seven, I'm not saying it's the three, five, seven, right, it's going to be the one, three, five relative to the first note in the chord we constructed. And you can imagine how does that work? Well, you could say, well, if I constructed the E minor scale, which I can do over here by changing my key to an eight, which is an E. And now I have the major construction and below it, we have our minor table construction. So here's the E minor different notes in it. But the one note is still an E is now an EGB, which is the E minor. And that's the one, three, five, that's the one, three, five over here, you've got the one, three, five. So that's how we see it. Now you don't need to memorize or be able to visualize all of the related scales. In order to do that, what you're going to do practically is say I could see that I constructed this from the C major chord. But I know that it's a minor construction. And I'm going to know that it's a minor construction by looking at the intervals, because I know that interval for a minor construction is not four, but three. And that's how I can tell it's a it's a minor construction. Now remember, when you get passed up here, you might say, well, what about these numbers seven, nine, 11, 13? What are those numbers doing? Because over here on the OG tab, there's only seven notes in the chord. So how can you be going up to seven, nine, 11 and 13? And that's because we're basically going around the loop again. So if I started here and went every other note to here, to here, to here, and then I kept going, then I'm going to start to pick up the notes that I skipped last time. And instead of naming these notes, like I'm not going to name that a two, I'm going to name it a seven, because we went around, it's like us going around the loop again. And when you start to look at these notes, you might think of it kind of as as though you're constructing it from its related mode. So in other words, this is an E, the three chord, the related mode would be on the right hand side. So if I look at my mode, there's the Dorian, there's, I'm sorry, here's the Phrygian, that's what we want. So now you can see it as the one in the Phrygian, just reconstructing this, but it's the one. And then if you took every other note, you take every other note, boom, and then you keep going and taking, taking every other note. And that's, that's why we're still counting up here. And you get, and you get to, you get to the seven, the nine, the 11. So that's how you can kind of see those in here. All right, we'll talk more about that later, but just to see that. And then these up top are the intervals. Now the intervals are representing the intervals between the, the, the, the one and whatever other note that we're looking at. So in this case, the three, the interval between the one and the three. Now these intervals have been built only off the one chord because it would be a long worksheet if we did the intervals for seven intervals, right? So we're just going to say the way I do it in my mind, as I say, this is the intervals related to, I'm usually, I'm just looking at these three right now, the intervals that are there for the one chord. And then I'm going to look at the two, three, four, five, six, seven, and see if they are different from the one chord or not. With, when I'm looking at just a major and minor chord construction, the only interval that will be different, the defining factor between a major and a minor, therefore, is the three chord, which has an interval of a major third, if it's a, if it's a, a one, if it's a major chord, one, four, five, and then a minor, which is three notes away, if it's a two, three, and a six. So even though this says a four, we're going to see it as different from the four. I'm seeing it as the three because it's, it's a minor chord construction. So that's how I'm kind of viewing the worksheet. Okay. So given all that, then what I, so what I would basically do is, is start to just take whatever chord you're looking at and just try to think about it in terms of its intervals, so that I can kind of map out if I'm looking at this shape, what is the, what is the one four five of the shape first, meaning which of these notes are the one four five of this shape. And then once I have that, I'll go back and talk about the intervals in more depth. So first I would say, okay, this is the one, and I'll use my worksheet as a cheat sheet at first. And then I'll, and then I'll want to be able to get to the point where I can kind of do this without the worksheet. Right. So I'm going to look at this, I'm going to say, okay, that note right there. That's the one. Okay. And then this note right here is going to be boom, that's going to be a B. And that's going to be the five. And I'm just really looking at whether it's a five years, that's a five. And then this note right here is an E again. So I could say, okay, well, wait, two E is cool. So I got two E is that's like a repetitive one, different octave. So that's back to a one. Okay, so that's a one. And then this note down here, which is the open G that I know that's my open G. And in this case, that's going to be my three. So that's notice in this construction, that's the only three that you get. So that's an important note to complete whatever you're doing here. There's not there's duplicates of the of the one and the five, but that's the only three. So that's kind of important to to note and what was I was down here. There's the three. And then we've got this one, which is a B. Okay, so that's another five. So that's going to be this note open string right here. So that's going to be another five. Okay. And then we've got back to this one, which is another one. So you can see that you have a lot more than you need to construct obviously this chord, because we only need three notes, we need each of the colors, each of the 135 to construct the E. That's why you can construct this, you know, multiple different ways. I'm missing one here. What happened? I move. So that's going to be our basic shape. So so again, what I would do is just start to finger this and say, Okay, there's going to be this is my top string. I'm not going to look over. Well, let me try. This is going to be my top string. That's going to be an E. So that's my one. And then I'm going to go, Okay, and this one right here is my second string. That's going to be my five. And then I'm going to go, Okay, this note right here. That's another E. That's another one. Oh, now this one is underneath that. That's going to be another one. So boom, back to here. And then this one is going to be now I moved the wrong one. So oh my goodness, you know what I'm trying to do Excel, stop being difficult. This one over here is going to be my three. Boom. And then I've got this one here is going to be my five. And so I'll try to do this. What I'm trying to do is show that I would do this more rapidly, right, without the crutch of the worksheet after a while. And then notice that this is a bar chord. So this is a great shape that if I move this up here, then I can kind of do the same thing. And you can start to map this out. Now these are different notes. But when I took look at it in terms of the relatives notes of whether it's going to be the 145 of whatever I'm playing, I happened to be playing an A up here. I could say, okay, if I look at this bar chord, then this top note is once again, going to be not an E, in this case, it's an A. But looking at it shape wise, it's the one, right? It's the one from a shape wise condition. So the relative positions move up and I can say, okay, well then this one, I know this one in my standard bar chord is the five, right? So there's my five. That's like my power chord. And then this one is back to the one again. So this one is really just repetitive. I almost don't even need it, right? Because that's another, another one. And I already have this heavy one up top. What I'm really trying to get down to that was this one is to this string. That's the one I really kind of need if I want to go from like a power port chord construction to an actual full minor. And that's going to be the defining factor, which is kind of hard when you're trying to, when you're trying to bar this thing off, which is why you might change the construction to look like that, for example, so you make sure you pick up that one and you have everything you need in that, in that here, and then I can look down here and say, okay, then this one is another five. It's not really necessary if I can get it to ring out cool, but I don't really need it, right? And then this one's another one, which again, it's kind of nice to have that high end ring out if you want it. But do you really need it? Not really, because you already have two other E's up top, right? It's the full bar chord. So that's one way to analyze it. Now then I would go back and try to analyze it more technically and say let me look at the intervals as I as I go through it. So I'm going to say, all right, let's go back to this one, I'm going to name it with my own and I try to do it out loud, so that I can this kind of sticks in my mind. I'm just going to say, okay, that's the the that's the the relative position, I'm going to say relative position because it's relative to the scale we're in relative position one of note number eight, I'm going to try to name the number of the notes so I can memorize the number, which is an E is of course, note eight, which is an E. And then I'm going to go to this one and say, Okay, then this one is going to be relative position, relative position, seven note away, fifth of note eight, which is an E. Now it's seven notes away. Does that what does that mean? That means it's, it's, it's going to be seven notes away from its starting note in terms of absolute notes. Well, what does the fifth mean? The fifth means that it's the fifth relative to this scale. So you could say, well, but I built it from the C scale, and the fifth down here is a G. But no, you're thinking, what if I had the E minor scale, it would be like over here, then it would be the fifth, which is a B. So you can see it's a B. But you know, that's not really helpful to me. What's helpful to me is to look at the interval, right? Because I don't want to have to memorize all the scales that are relative to each of these notes, right? I mean, that'd be cool if I could, but I want to be able to say, well, it's a seven note away interval in terms of absolute intervals from the one, that's what makes it a fifth. And I also don't need to define whether it's major or minor, because the fifth will be the same, whether it's major or minor. So then if I do this with numbers, I can do this nicely and easily and say eight is an E plus seven notes away plus seven is going to give us 15, there's only 12 notes in the musical alphabet minus 12, that's going to give us three. Or I think about it this way, it's going to be eight plus seven is 15, drop the one and subtract two. So you get to just basically five minus two, which is easier to do in your head. So that's basically like saying minus 10 gives you five minus two gives you the three. Now just to get an idea of what that means on one string. If I was to say if the E is the one and I'm going to say it's seven notes away to get to a B, then I'd say well there's one, two, three, four, five, six, seven. Let me do that one more time. So we got then we've got because I think I messed that up. So here's the E. So the open E 1234567. There it is. So there's the B. So there's the B on one string. That's what it means to go seven notes up. But that's not going to help me when I'm trying to play in open position, right? So there's so so we have to be down here to pick up that B. Now look at those two notes are our bees, right? So you can say okay, well that's kind of interesting. So what does it mean to have the same note played out? Well, it's one, two, three, four, five frets up and one up this way gives you the same note B, B. All right, so that's kind of interesting. So then if we go to this one, I'm going to say all right, well, this is another one note. And I'm going to go okay. I'm going to go okay. Okay. And then so this is going to be a one note. So this is going to be relative position one of note eight E, which is of course note eight E. And so that one's straightforward. That's going to be, you know, this note repetitive to ease different octaves, but the same tone. And then here's my G. So there's my open G boom, relative position, not four notes away, because that's what this one would be compared on the first thing I'm going to say it's yellow because it's different. It's the minor relative position, three note away, or minor third from note eight, which is an E. So I'm going to define the fact that this is my key difference, a couple different ways. One, I'm going to say it's three notes away. And I'm also going to say it's the minor third, which is another way of saying it's a three note distance as a four, as opposed to a four note distance or a whole note, a whole step and a half step versus two whole steps if you want to think about it that way. So and so so it's a three note away, minor third of note eight, which is an E. And then I could say, well, if I'm on note eight, plus three, I get to 11 and 11 in absolute terms is a G. All right. And so then I can go to this one and say, all right, let's do this one. This is going to be another B. So once again, another B. And I'm going to label in my head, that's a seven note away. Fifth, I don't need to say major or minor, because it's the same whether it be major or minor, seven note away, fifth of note eight, which is an E. And I know that eight plus seven is 15 drop the one minus two to subtract 12, five minus two. But I can do it this way 15 minus 10 minus two gives you a three, which is going to be a B. And then I'm down here again, another E, which is relative position one of note eight E, which is of course, note eight E. So you can so then I would try to do that a little bit faster without the cheat sheet and just be able to name those positions in my head. And that'll help you to get both the numbers and the letters and the intervals. So then of course, you can do it this way. I could start to say, well, what if I looked up top this way and picked up the hold on a second. I doubled up on that one. We're going to say I could I could pick up these three notes. And that's another kind of way that I can pick up those three notes. The bottom note now is now the the one note. So if I looked at this, you might look at it first from the one note, which is down here. And I would say that's relative position one of note eight, which is an E, which is note eight E. And then above it, we know that we always have above it, except between these two strings, a fifth is always above it. And the fifth is always the same. So you can start to see that relationship all the time. If this is my root note, I'll usually have a fifth above it, I will always have a fifth unless it's between these two strings, right? So that's this string is going to be a seven note away fifth of note eight, which is an E. And I can say, okay, eight plus seven is 15 minus 10 minus two is three. And then if I look at this one, we're going to get to the G, which is going to be the minor third. And you can see where the minor third is in relation to the one, it's two, it's two strings up and one string over. That's going to be one, one way that you can find a minor third. If this is the one, you're going to find a minor third here. If this is a fifth, you're going to find a minor third one string up and over to the right of that of the fifth to get to the third. And this is going to be I would say not four notes away, but a three note away minor third of note eight, which is an E. So then I can say, okay, eight plus three is 11. And note 11 is a G, right? And then I can I could look at just, you know, these three notes down here as a construction or maybe I pick up this one. And I start going boom, boom, and maybe I pick up this one. And then this one is another way that you might play this in open position, because then you can pick up that G and you get that kind of a nice voicing here and I get the wrong one. So if I was to do that, I'd say, okay, that's relative position one of note eight, which is an E. And then this is going to be relative position to pick up the wrong one relative position, three note away, three note away minor third of note eight, which is an E, which is eight plus three or 11. And then I'm going to say this one's going to be a B. So that's going to be the seven note away, seven note away, fifth of note eight, which is an E, eight plus seven 15 minus 10 minus two is three, which is a B. And then I picked up another G over here, which is interesting, because that's another way that you can get another three in play, which which which when you play the normal shape, you're kind of lacking in threes. So, so that's going to be another. So this one actually has two threes in it, the way you play it this way. And this would be another relative position, three note away, minor third of note eight, which is an E. So eight plus three is 11. And 11 is a G. Now, then you can start to play. Remember, if I scroll down here and I look at any of these other notes, last time we thought about how can we blend these kind of things together, because because now we're saying that that I'd like to I'd like to noodle around and try to add some of these other notes possibly to my chord constructions, just to get different voicings of what I'm playing. So you're safe to do that. If you do everything that's inside the C major scale, if you're playing something that's in C major, right? And if you so if you pick up any of these other blue notes, or any of the notes that are part of the other chords that we learned, which is going to be the you know, the C, the F, the G, the D minor, the E minor, which you could see here at the CD minor, E minor, F major G major, a minor, which we'll talk about later, and then the diminished, which we'll talk about later as well. So if you pick up any notes that are in there, and you kind of add them to whatever you're playing, like the E, like if I played this E, and I'm like, oh, well, what if I picked up like the C down here, you know, what what am I doing? Like if I did that, I'm like, okay, so now I'm like doing this. But then I picked up like this C. And so I'm not playing this B anymore. I'm playing the C instead is what I what I ended up doing. Well, what what does that mean? Well, if you look at that technically, you can say, well, that means you're basically picking up the 13 over here. So I'm picking up like so so now I'm playing that what was I doing this to this I'm kind of thinking so I can I don't have to really analyze that defeat to see to see that I can do that because I'm just going to pick up anything that's inside of my chord, the legal notes. And if I pick up anything that's inside the legal notes that I'm going to be playing one of these, which is the seven through the 13, which is basically just the notes that are not in the 135 of the chord that has been constructed from the C major scale. So so so I don't need to technically know that but then it's nice to be able to kind of analyze it a little bit more technically as well. So now we're going to say so if I so so also just remember that once you get out from the seven to the 13, it gets more confusing than the one to the three in that when I look at the the when I look at the majors and the minors, I know that the only thing that's going to differ is this three, the three right here. So that's why I can always say I made this one yellow up top and I can say that one is going to be the interval, the differing interval on the third between the majors which in the 145 and the minors the two three and six and we'll talk about the diminishes as its own little thing but it has the same interval in that particular interval. And then that's why I think that's why it's low well it's usually a lower case in any case. But when you get over here to like the seven, you're going to say well it's not always the same between like just the 145 or the major constructions and the minor constructions you're going to have differences within the major and minor constructions. So with like the seven chord, for example, you're going to have a difference between the seven chord constructions between the major one four and then the five has a different interval. So now you're going to have to start to be thinking well the seven, the nine, the 11 and the 13 is not just dependent upon whether it's a major or minor construction, the interval that is the interval will differ based on you know where what actual numbered is within the chord. So you want as long as you keep that in your mind and then then you can experiment with these ones up top as well and look at those intervals. And I won't get into those in detail right now but if you want to play with that, then of course go ahead and do so. So then so then if I put this one back here, you know any of these any of these notes you could do you know you could do you could do the same you could do the same thing right I can hold this note down. I can I can hold this note down. I could say what would you know what would be the case if I held you know this a down like this. Now I'm losing my my third which is kind of not good but I'm picking up the the a over here which is going to be like the 11 and you can look at the intervals away. Remember that this interval up top represents the difference between the the first interval so nine nine minus four nine minus four is going to give us that five and now this is looking at the interval which may or may not be the same on the third which we're going to be basically comparing to to the to the first intervals and the first chord is how it's basically being constructed just like we saw on this three chords so then you can go through and you can map out the intervals if you so choose again. I'm not going to go into that in detail now because that's a whole another you know thing to to look at in and of itself but I just want to touch in that on that if you want to start you know playing with these with these other intervals and start to try to analyze exactly what is going on between them I would compare each of these intervals that you're playing and we might do that again in the future compare them to the interval on the one chord and try to say which of the intervals are the same which are the intervals or the differences and then try to think about how you can get straight in your mind what what intervals what patterns will look correct depending on you know what scale you're in depending on the relative position whether it be the one two three four five six or seven chord related to the scale that you kind that you constructed it from so again a whole another topic we'll talk about that later but you can jump into that now next time we're going to move on to of course the the minor chord construction which is a minor which is basically my favorite key to playing and I think it's a lot of favorite cues to play in for guitars because it has so many advantages to it but we'll talk we'll talk more about that in future presentations