 Guitar and Excel see major a minor scale fret number five targeting the G major chord Remember as rock stars. We make our own rules But like Making rules is hard man. So I find it's best to do a little rule making every morning with the help of coffee and Excel But like Excel is just helping. We're the ones actually making the rules We're the ones making the rules round here 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 did so in a prior presentation So if you want to build this from a blank worksheet, you could 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 notes the scale the chords were focused in on if you do have access to this Workbook though. There's currently like 12 tabs down below bunch of these example tabs And then we got the og orange tab the og orange tab representing the original worksheet We put together in a prior section it now acting as the starting point Going forward mapping out the entire fretboard giving us the entire musical alphabet and letter format number format Combining letter and number format providing a key that can be adjusted with this green cell Adjusting the worksheets on the right-hand side Which will give us the scale that we have adjusted the key to with that green cell and then give us the notes within that scale Give us then the chord constructions as well as interval Information we then wanted to map out in the key of C the chords Constructed from that key in open position So we did that starting with the one chord over here and mapped it out open positions fret one through three We went through to the four chord the F major then we went to the G major Back to the D minor and then we went to the E minor and then we went to the six Which is the A minor and then to the diminished now we're going to go jumping to the middle of the fretboard and look at the the Scales from the middle of the fretboard so the idea being that we've kind of mapped out this first bit this first part open position of the fretboard in Scaled position if we put them all together we'd end up with this glob of a scale and Now we're working on mapping out in the middle of the guitar Based on scale positions first and then we'll talk more about chords so we did this in terms of our pentatonic and then we moved into our major scale positions and Now we're going to be Continuing on with this now the next thing we started to look at is to say how are we going to target? the notes in our position up here how could we move from the from the Notes were playing or the chords were playing in open positions to utilize This middle point of the guitar and we talked about how we can target in the key of C And then we moved to the key of F now We're going to do a similar process, but we're going to move on down to the key of G So to do that I'm going to copy this tab over and I will get to the guitar But I kind of want to just show everybody on the worksheet So if you're following along with the worksheet you can see what's happening here So I'm going to hold down control and I'm going to drag a new sheet to the right double-click on it And I'm just going to change this to a G. So I'm going to say this is the G Okay, so then I'm going to go over here and let's Move our cursor down to the G And I'm going to change the rules here so that these three colors will now represent the G B and D So let's select our fretboard home tab Styles drop down And we're going to the conditional formatting. I'm going to say no, we're going to go into manage rules Manage rules and then I'm going to double click on each of these rules So this one with the light green double clicking on it. I'm going to change the cell To now be equal to this G Okay, it's not going to change yet until I'm done with all of them and I hit okay I'm going to double click on the red one and I'm going to change this cell to be the B And then okay, and then I'm going to double click on the yellow one And I'm going to change this cell to be the D And then once I hit okay again, it should change our worksheet to the right Boom And so I think that changed everything. Hopefully I'm going to drag these down then As well. So we'll bring these down for now. And so we have the same shape over here but Now we've got the These highlighted instead of these. So let's go ahead and Format paint this one There's my G format paint this one. There's my B And then I'm going to format paint this one And there's my D. I'm going to format paint these three On top of here. And so there is our starting point now the G and open position Let's map that out. So we have this G shape our familiar G shape in open position looks like this Duh-duh-duh-duh And so although we map we're mapping this out in the key of C The G shape fits within it. We can play this basically that's one way we play The G that G shape basically fits within it Now when we move up to this part The first thing we might target if we're thinking of targeting a G is of course the one Note of the chord which would be a G So as we do that Because we're playing in the key of C. We're using all the chords in the key of C We can either think of ourselves like in the key of C and then switch to a G chord Or we can think of ourselves in the related mode. So I'm going to put the related mode on the right I'm going to put my cursor on the a s to ec right click and unhide Oh, I hit again. I do that every time. Why do I do that? What does I have an issue with the unhide thing? So if I go down here the G is Uh the uh the five right so one two three four five So if we make that the one let's take a look at the mode. Let's go on to the right We're looking at the mode Over to the right over to the right looking for the mode. There it is mixillidian So I'm going to hide from easy. This is how easy it is We're hiding from easy On over and if you're not an excel wizard, it might not seem that easy but Just keep practicing keep practicing. So we're going to right click and hide We'll have the worksheet already set up if it's not that easy too. So we'll hide this here and then I'll scroll down a bit So now you've got the same concept if I was to copy this and make that the one So now we can kind of practice if you want to practice your g in particular Then you might want to make that basically the one right and then start uh Newly and around that cord or you can think of it as you're going to just basically try to make the five Chord the center of the tonic by playing around it. Okay, so then I'm going to hide up top. Let's make this full Screen mode and so then I can probably make this a little larger since it's full screen mode And so is that good? Will that be good enough? I think that's pretty good So we can kind of see everything that's going on here. Okay, so so so now if we're playing over here and we're we're playing I we're focusing in our on our g So the couple ways that we can do this is is I built my g from the key of c So I could then start on a key of c right and try to make that my tonic And then move to the g And then back to the c f If I do that I'm really I'm still kind of making I have to play the c most often Basically because I'm trying to make that the tonic right because I'm thinking of myself in the key of c If I want to practice the key of g I could switch of course to another the g major Scale, but that's not what we're practicing right now, right because then we'd have to switch all the positions up top We're going to try to keep all the chords the same and practice making the five kind of the root with the same chords Which basically means you'd be playing in mixolydian if you want to think of it as the one note and let's let's I can well I will leave that here uh or Or you could just kind of think that you're playing around the five now That's a little bit more difficult to do than playing then like switching to the related minor for example But still completely a doable thing, right? How can you do that most easily when you're going to play around the g start with a g? Maybe go to the a minor Back to the g I'm going to just try to try to make that g my center point I'm going to listen to try to make that g Basically my center point now then as I do that then I'm going to say well How can I move up here to my position up top? And and use those notes up top now when we look at these notes up top It looks like a mess because we have all these different colors Let's just recap that real quick all of the colors that are up top here represent Notes that are in the major scale one of these seven notes Then and then they were originally blue and then on top of the blue notes We put the green notes, which are the pentatonics which fit perfectly inside of the blue notes And then on top of that we put then the the g Uh the g chord now note that the g chord itself Does not fit perfectly into the five note pentatonic scale, right? It's not going to fit into the five note pentatonic scale Because it for it like it has this b down here, which is one of the notes that are excluded So when we look at the five note pentatonic scale You're you're you're thinking that fits perfectly with the c or the major and it's related minor So some of the other chord constructions aren't going to fit in there So if you learn the pentatonic and you're like I've got the pentatonic down But I don't have the major scale down You can think about it as the pentatonic and then possibly add that one note That's not within it, right? So when I go to a g I could say, okay I'm just going to play the five the pentatonic boom boom boom boom boom, you know that shape And then I'm going to add To it possibly the note that's not in it or you can just not target the third right because the third's not going to be in the pentatonic Okay, and so then and then we could basically try to do our method of sliding in And targeting say the g, right? So if I'm playing something in the g Here's going to be the g right here. So I can say there's a g and then I have a g down here So if I'm playing my standard g like this You know, I could think about okay, how can I slide in usually my pointer fingers kind of an easy one to slide in with So if I was to say let's make this up here. Let's actually Copy this so I can get a different color I'll copy this and we're on my pointer finger and that position is here And so then I'm going to be like, okay, let's slide that In To this position, right? So I'm going to be like, okay Right and then I'm just kind of noodling around going boom boom boom boom boom boom And then back to that g right so I'm kind of ending it on the g So I kind of have a have a starting point my g chord and I'm looking at a destination And I'm trying to follow a finger in here instead of instead of me picking up my hand because if I pick up my hand Most likely what I'm going to do is go, uh Right because I'm going to start playing the pentatonic From top to bottom But if you follow a string in Then you're you're less likely to get confused on where you go when you follow your hand and you're probably going to start from different positions Right, so if I follow So then you can and then I'm going to end right there and then if I wanted to end Uh down here we could follow a position down here and try to So I'm just kind of noodling around and trying to end on those two notes That's one way we can do things now also note that this g You might get used to playing it This way because this works well when you when you're moving from a c To a g and so then in that case you might be following this finger and again Because because this finger you can always use it as kind of it's a nice pivot finger right so you can follow that finger and And then there's my g up top Now it's nice. You don't always have to follow your pointer finger But that's just like the easiest one to kind of follow in right so if I was playing Something if I was playing it this way you might actually follow in your pinky If you feel comfortable with doing that and that leads right into A g so now I'm in this position four fingers. I'm starting with my pinky over here So you can follow that finger and you can play it from This position right so I can play my g over here Like that and then basically I could follow this finger in I lost it there for a second now the other thing that's interesting about the g Is is that there's another g shape right here? So basically If if you if you look at this g if we if we saw it from a caged system, you're going to say there's a g right there And here's my tonic Or here's my g note up top So you could then you could then pivot around and say well, can I build a major chord from that? We could and it would look like that. That's your bar chord So we haven't got into that bar chord that much other than to say that basically we can change this bar chord To instead of barring that top off to at least pick up this note or even those two notes But I'm just going to pick up that one for sure and that's going to be our What you might think of as your f shape that's been moved up to a g but it's really a From a from a cage system you want to think of it as your e shape right here's my e Major shape which we haven't looked at here because we only have the minor in our construction But if it was a major you'd have this finger down if I was to bar that off it would look like this And then and then if I move that up to the f it looks like this And then I feel like I don't need to bar it off because I just need maybe these four strings It's easier to play so it looks like that and then if I move that up This is a g now. So it's a it's an Kind of like your f shape, which is really an e Bar chord that's now shaped like this. We could play it the whole way but play it like this Now that's a pretty nice useful position here to then Move into your fret five right because you're right next to so if you were to go from this g And then to this same g construction then you're right next to it and I could follow this finger in pretty easily And then I can always use the trusty power chord here If you play that g and down one and over one you get that power chord And so you can always kind of that's a good place to end a lot of time I could follow in you know any of these fingers possibly I follow in this finger And I'm ending on this G up top So that's gonna so so so with the g it's useful to see that I can play it this way And I can follow that f That f position and play it this way. So if you're noodling around I start with a g like this Go to that f which which is in the key of c because we're playing in the g mixlidian and then move it up To your g here and then I that's a perfect position for me to then Move up into my pentatonic or scale shape that we're working on in fret five and then of course we can easily move back Any of this position here that you're actually holding down is clearly something in the scale as well, right? So I can I can hold down. I know this is in the scale and I know this is in my chord position You can kind of arpeggiate that Okay, so then you might target If you we targeted the g the next thing is to say Okay, well, can I build like a chord around around? That g so let's look at that. I'm gonna say okay. Well, there's a g there's a d and there's a b and so That should look kind of familiar Because although we haven't been playing the d major we've been playing the d minor because that's in the c But if we had a d major it's a common very common chord it would look like this So it would have that shape to it in open position If it was an open position over here and then it would have that open d Uh up top as well So if I was to move that up to here That's going to be our shape over here. So most people see this shape Basically as a d type of shape and then you get all three notes that are in the chord This would be basically the root of it now note to make it really a d shape You'd have to finger it like this and reach back over here To pick up that g two because remember when I played an open position that i'm ringing this one out But you don't need to do that in order to get just the chord What you can do is mute this string up top and then just play these three And then you could try to like you could try if you have big hands You can almost mute these two strings to try to not ring out that one But you have to have a little bit better aim. You can't just be like Wacking all over this fretboard and try to mute that because You're going to ring out this a but you can Have decent aim and still be able to do that even with a pick By muting this string Up top So that's going to be that if you look at that from A caged position, which we'll talk more about later note. What's happening here. We have our g Here here's our g shape and then we go from the g to the e So here was our e shape Which we're playing like this boom and then that's still a g chord But now I have an e shape and then if I move that up from an e to a d The d shape notice the d shape isn't back here We're talking about the d shape that's at the front at the top of this pentatonic shape It's so you might say hey, I see a d shape like right here But that's not what we're looking at we're looking at this one That's towards the top of the of the of the shape So there's the uh, there's the d shape and you can remember from our last Discussion when we looked at the f shape that when you see this d shape that leading note right here is going to lead in To the c shape Which is outside of our position But just to tie that into kind of what we saw Before and we'll talk more about the caged system later So that's one way that that you can think about it So I can play it like this or I can say I'm going to play this note up top and then I'm going to say This one is always my power chord so I can always do something like this And then I can mute these strings up top if I don't want the a to ring out And then instead of grabbing this g because I don't need it It's a duplicate if I want to get my third I can just grab this bottom string right there So in that and doing that what I'm doing is I'm muting this b So that b doesn't ring out you can kind of just hang this Finger the meat of it over if you don't want that b to ring out if it does it's the 13 But you probably don't want it to ring out So that's another way that you can you can get That g sound you might not grab that b you might not even go for it You just say I'm just going to do my power chord thing And try to get that to ring out, but it's pretty easy to get that With your pinkie and you can build it that way So then uh, you have this construction where you can see okay above Uh above the g I have a d And to the left I have my b you can see what that is that's coming from this This bar chord this e that we converted to look kind of like a shifted up f that we've been playing in That the the simple f and then all I really need from that f to play it are these top three which are in my position here Which is right here So I could simplify this shape Even though that's pretty comfortable to play right there by putting it up here just these three So that's another way we can play Uh the the whole chord if we wanted to and then we can play the whole chord This way we can say okay now I've got my My tonic is down here. I'm going to move this out. We're not playing that b We've got the g down below and above it is the fifth And then I'm going to reach on over and grab this b it's a little bit tricky You can probably grab it with this finger With your pointer if you have big enough hands Which is kind of nice because then you have your pinky open to either put it somewhere else Or to mute the strings, but if you don't if you don't have as big hands You can use the pinky and you can probably mute these strings down here With the meat of the bottom of your pinky That's probably probably not played as much, but it's a useful arpeggiation Of the of the notes in the chord Okay, so there's a couple ways that if we wanted to end down in the whole thing off Now I'm playing if I'm playing the g over here And I'm and I'm going okay. I'm going to go and then I'm going to end it like that, right? So now here's these three up top that I'm just hitting I'm looking for that little chord up top and that kind of gives it Some resolution, which is a little bit more solid than just hitting the g, right? That and then I can So so then of course you could target any other note, so you could say well, I'm not going to target the G instead I'm going to target the b so if I go up top and say, okay The b's Are there there and There so if you're playing So we have the b's Are going to be here Here and here. Is that right? Is that the b? No here So if you're playing here You could be zooming in And let me play it up here. Here's my g up in this position So we've got the b we can and the b's kind of interesting when you're playing in mixolydian Because usually that's a leading tone if I was in c major going to the c So it's kind of an interesting but in any case now we're going to go to let's go to the d so we could target the d which is here here And then so I can say okay. Here's my d's are there and I got a d there So so notice if you're ending with a d you can also like make a chord, you know with it So I can my power chord whenever you see something that has this shape that's kind of high up and I can play The one down and to the right you can kind of use that d as a power chord Kind of construction to basically so if I'm playing my g To this g And then I'm going back to my g there's my d right there My chord d back to a g Back to my g right and then I could say okay, I could target things that are outside of of This I can target anything that's in this shape right even if it's not in The chord so I could then say well, I could still target, you know my c Even though I'm focusing in on the g right which might be a little risky to do because then you're likely That it might start sounding like you're trying to play c major when you're trying to make it Make it a g mixolydian, but I know my c's are here Here here, so if I play this Back to my g There's a c back to my g So Anyways, you so you can target, you know Obviously any of the notes and see what see what that's going to basically feel like remember that the ones that are in The the chord that you're playing should be going closer to home Those are going to be calling you closer to home when you use things that are Further away from or outside of the chord you would think you're more in the wilderness Which is which is fine as long as you can kind of find your way back and then and then get back to Back to the home is the general idea So we want to be moving from a position that we're trying to set a base as comfortable feeling of home Move away from that adding tension And then going back towards home these three notes are the ones that are going to be feeling like you're going towards home the g End of itself is going to be Basically home itself and that g plus the b Because the b is the differentiating factor between a major and the minor is going to give you that feeling Now the next question that will generally come up in our mind is going to be well How can I play in the key of g major? Rather than playing in the key of like g mixolydian How can I make that basically the one chord of a major scale? One way we can see that is we can say well this is this shape right here is in The c major so where is the c located? It's on my pinky on the top string at least it's easiest to see most of the time with top string So we're like it's on my pinky So where can I find a g here where I can make it my pinky position to start with and of course our g is right here And we're basically within that open position over here So it gets a little bit confusing because you have to deal with the nut But if you were to imagine that you pushed this whole shape back on over here So that this g is going to be your pinky shape then we can pull that shape back And we'll I'll show you that in a second so we can see that in a little bit more detail That's one way that you can kind of visualize that and then all the related notes would be pulling over now We're not going to talk about the g major In detail, but I just want to mention that so that because that often is going to be a question that That's going to be coming into people's minds The other way you might think of it is you're saying well, what if I made if I made Like that g right there. There's there's a g What if I made it like Of the one note and then I went down so what if I made that my pinky note right here And then I tried to I tried to build my scale As I would from top to bottom right so it's like okay There's my top string ends at that g And then I'm going to go down here and then go to the next the next string which would have a pattern like this And then it gets kind of wonky though because you get into this pattern Right here, which you get into the kink with the strings But you can kind of start to think about it like that if you wanted to right You can say well, can't I shift the pattern down and say well if that's the one chord And it's my pinky Can I shift the whole thing down and make that g which is what i'm targeting on The one and then make that my pinky finger and then shift this whole shape down So that's another thing that you can kind of play with if you want to visualize it in a few different ways let's go down To our frets down here Where we we made our our fretboard down here And i'm going to so this was our major That we made so i'm going to just clear the formatting for this one Let's go ahead and i'm going to go up top and close this out put that down for now And let's see if i can get Showing the ribbon for now And then is this the one i want i'm going to pick this one up And let's imagine that we're going to change this not to an f but to a g right So i'm going to put my cursor between i and ak Right click and unhide i did it right that time i did it right And then i'm going to go up top and i also need to unhide Between 127 and 143 right click and unhide And then i'm going to make this key in the key of g now which is a note number 11 And so now we've got our major In the key of g so then i'm going to hide once again from here on over Let's go like 12 to 12 frets out And then right click and hide And okay and then back on over And so then down here and then i'm going to say now we have our one Which is now in the key of g so i'm going to un Do this whole thing i'm going to say clear clear the rules And then let's add the rules back in so let's move this down to do To do and then i'm going to just add the rules so i'm going to say okay Let's make some rules here We're going to say this is going to be equal to i'll make the whole thing blue to start off with So now we're in the key of g we're just going to make everything blue just to see some comparing and some contrasting You don't have to say contrast because if you're comparing that means you're contrasting stop wasting words You have to but you have to say because it sounds cool. You have to say compare and contrast You can't just be like we're going to compare How can you not say? Contrast to you don't need to say contrast you're wasting people's time all you need Contrast is implied When you say compare I don't know. I think It sounds better When you say compare and contrast and the fact that it sounds better is reason enough to Say the second part of the phrase Because of the beauty of the symmetry Okay, I don't know what i'm talking about. Let's go ahead and say Uh, this is going to be this one. Okay, they're all blue They're all blue and then i'll put the Conditional formatting for the g is going to be green boom boom And then conditional formatting boom b's red boom boom d's yellow and boom boom And then i'll put this over here boom boom boom boom Boom okay, so there we have it and and so so so now we can see in open position We have our g Fits in this shape now. So now we've got our g fits over here Our nice g shape Fits right there And Let's do another one copy and paste And then we have Uh, this one right here and then with our caged system if if I start on a g Then the next thing up c a g e right so then we're going to have our e Position that we saw basically so let's Put this here and then we're going to have our e which we saw on our fretboard I won't map out the whole Uh e position, but then it's going to go to a d right and then that's the one That we were looking at basically up top right so here's our d positions And so But so you can see that those shapes are still in there for the for the note But the the shape around it is going to be different Because because now we're in the key we're in the key of of g as opposed to the key of c So in other words, let me go up to this shape up top and show you what I mean And so let's go ahead and hide from here Down uh to here right click and hide That stuff and then let's see if I can Make a full screen So so now you can see that in this position Uh Well, let's just move this up here So we have the same position. We still have Our shape right here's our here's our d Kind of shape that's that's making a c I mean that's making a g Chord it's still down there, but the shape around it is not exactly the same right The shape around it's not exactly the same because uh So so if you wanted to switch your mind if you're going from like If you're going from like a c chord to a g chord you can switch in your mind To shift the entire fretboard right to to now be in basically The key of g which is which is going to have or you can keep your mind in the key Of c which will have the three notes of The key of of the chord of g within it But the whole shape around it is still basically Built from the key of c right so so those are the things that that little that That shifting of your mind going okay now. I'm I'm going to be moving from here And so also just realized that when we label this position like this position If I was to if I was to label This position here Then you might call that I would call it then position well you could call it a d shaped position right because that's what some people might call it from a caged perspective and to keep and to finish the d shape However, that would be similar to the open position. You'd have to pick up this open position G right there, but remember that this shape will also fit into To this shape up here this chord fits into this shape up here But it would be unique if you fit it into the pentatonic scale So when you're trying to figure out where you are on the fretboard One way you can start to label these shapes is you can say well, that's a a d shaped Pentatonic, you know major scale around it right that's in the key of g What I would typically call it is just is to name Uh is to name the positions and we're starting with position One here So then we would be going up to I would call this basically position number three Not everybody uses that convention, but it's fairly well used and let me show you what I mean By that over here So this is this is the one where we mapped out all of the positions Now here's the one where so here's the scale overview. So we started on fret five, right? This is what i'm calling position one and then the next one is going to be this position two And then here we are in this Uh position three, which is this green one Down here so you could call it a d Or you can call it basically, you know position number three So we'll we'll get a little bit more into that once we start moving from this position On up because we're going to look everything at everything from the key of c moving from this position what I would call position one Uh two position two But obviously all these stuff kind of blends together So i'm just trying to point it out a little bit as we go So that you can if you want to dig more into that stuff you can dig into it now if you want So i'm going to unhide and i'm going to set up the worksheet for next time. So i'm going to make this smaller And let's make it to like right here and then i'm going to hide From here to here just to get the setup Here and then i'm going to go from here to here honestly Someone keeps on stealing stuff off of my porch over here I imagine that it's some crackhead that's stealing stuff off my porch, but the other night I actually I actually ordered some vegetables To be to be left from farm fresh And I could just imagine The the crackhead you could tell that you could tell that the thing was Cracked open the box was cracked open the but the box was left largely intact Because apparently crackheads don't like kale. That's what I just He was probably about to throw the entire box of vegetables all over the higher All over the hallway in a crack fueled fit of rage, but then thought hey Maybe I can cause more damage by just letting them eat the kale I mean if he wants to torture himself by eating kale then that's like the most harm I can do man so Like honestly, I'm I'm thinking I'm thinking about hanging kale all over my door frame to fend off the crackheads You know you keep the crack heads away Like garlic keeps away the vampires Anyway, I'm just joking. I don't know. I don't know anyway. What was I doing here? So I'm going to then go up top and I think That's basically good so Let's just zoom in a bit here And then I'm going to zoom in a bit more And so and so we're on the major Scale and so maybe I'll unhide over here as well from as right click and unhide And so there we have that and then I'll put it back on the full screen To put it back To always with the ribbon and then next time We'll do a similar process But we'll be moving Maybe we'll move back up to the miners to the two core to the d-minor