 Guitar and Excel C major A minor scale fret number five targeting the C major chord Get ready and some coffee because we're about to set the music record straight by putting it into Excel Mainly because I can't draw a straight line by hand so I can't set the record straight that way But I am excellent at setting the record straight using Excel Although Excel is really the one doing most of the record straightening, but whatever. Let's do it 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 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 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 to scale the chords that were focused in on If you do have access to this workbook They'll currently like ten tabs down below a bunch of these example tabs and the og orange tab 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 mapping out the entire musical alphabet and letters numbers and combining them together Providing us a key that can be adjusted with this green cell Which changes the scale keys that were in in our worksheet to the right Providing us all the notes in that key chord Constructions from the notes in that key and interval information We then wanted to look at the key of C major think about all the chord Constructions in open position to start with and we did that starting with the one chord over here So we took the one chord we took the one three five created the one chord and mapped it out in position Zero or in open position which I'm going to define as frets zero through three We then did the same thing but jump into the four chord because it has also a major chord construction Which is the F major chord mapped it out we then went to the five chord g major chord mapped it out Back up to the minors. We went to the two chord, which is the D minor chord We mapped it out went to the three chord the e minor chord mapped it out And then to the six chord a minor mapped it out and finally the diminished we mapped it out We then if I go to the worksheet on the right We have now basically mapped out in open position In kind of a fun the most fun type of way to start with everything That is in the scale So I'm going to unhide some cells and I will get to actually the guitar here So I'm not just going to do intervals the whole time But I want to start from the same point We were at ended last time in case you're following along and you want to adjust your worksheets with me So I'm going to unhide From e over to the to the left right click and unhide So we can see the frets on the right Did I do that right? Hold on. I'm not sure I did I'm going to control Z I think I hid them. I'm that's an undo and trying to unhide not hide Okay, so then if I if I go down here We can see that basically what we did when we mapped out all these chords is make a scale if you were put If you were to put them all together. We're using all the notes in this scale so we kind of learned the scale, but we did so with chords and then we jumped up to I'm going to say fret 5 to think about The middle of the guitar and try to think about it not with chords to start out with but with scale So now we can practice our scales and we can practice our chords But we can do so in different places and then we can combine this together So we did this with the pentatonic scale up top and in the famous pentatonic position I would call it position one or a G shape position and then we added The major notes on top of it. So now we have the entire shape here that we are playing So we've discussed it in detail what we want to do now is try to link it to what we've learned In open position. So we want to be thinking of ourselves in The key of C and say, okay How can I basically link what I have over here in a scale format to what I've kind of learned over here in The chord format. All right, so to do that I'm going to unhide some cells over here because we left off last time with a minor construction So I'm going to put my cursor on bg to bi right-click and unhide Oh man, I did it again. I hid instead of unhide right-click and unhide What in the world are you doing? So there's the minor and then I'll go between these two and Right-click and unhide Okay, so now we should have the major over here So there's our major and let's just bring it out to the end of this position. Let's go to position 9 or to fret 9 and I'm going to bring this to the major right-click and Hide all right So that's going to be what we'll be working with move that up a bit And maybe we can even zoom in a bit on it so we can zoom in a bit possibly Talvace and So there we have it So now we're going to be on looking at chord number one and I'll map out the one three five Over this whole piece. So this is the open position and this is our Fret number five. So to do that I'm going to hit the dots up top and I'm going to I'm going to say Show me the ribbon at least for now and then let's go to the home tab and we're going to go to conditional formatting I'm going to say that this is equal to the C. Let's make that green And so we'll make that green and then drop down and we're going to say Let's go to the E and make that red and then let's go to the drop down and go to the G and make that yellow Okay, and so then I'll populate this format paint this on this side, too So there's our C formatting the one. Here's our three and then here's our Five now if I was to finger this in open position, let's actually make these Red I'll make them red So we're gonna say usually we would finger this would be our C Fingering right we'd say see there and then there and Then this would be open and then we'd put our finger there and There so we learned this over here in the C tab, right? There's our position and And that's what we have on this side. I should have copied this over to the right. Oh I'm gonna do that. I'm gonna copy that over here. I should it I'm holding down control copying to the right And I'm gonna name it This is gonna be practice the practice tab and I'm calling it a fret pentatonic let's say fret fret five C Major C major Chord that we're gonna be dealing with we'll do that for now, and I'm gonna right-click. Let's make that blue right-clicking And make that blue Okay, so there we have it and then I'm gonna minimize my screen up top full screen mode All right, so there we have it So now I know this is kind of ugly in terms of the colors, but just to recall the color scheme The the everything that's selected is gonna be in the major the major scale So if I look down here, then this would be all of our seven notes mapped out And then we made the green ones if they are green That means it's gonna be one of the five out of seven The only ones that would not be green are the are the four and the seven if we didn't have then map this on top of it So the green ones are the ones that are the five out of seven notes for the pentatonic and then the ones that are this color these colors are The ones that are gonna fit within both the major scale as well as the pentatonic scale And that's gonna be the one three five of Our actual chord that we're targeting that's gonna be the C major chord and then this shape represents The the the fingering that we would actually put in open position So now of course if we're thinking of open position here We have we can play any of these chords in open position so I can go from my C And then I'm gonna say well, how can I kind of navigate from there into My scale position which I would think about starting on fret five Even though there's this note over here when you're looking at the major Construction whether I'm thinking of it from a pentatonic shape position or the full major scale shape position so the pentatonic for members And the major Right so so one way we can do that we discussed a little bit last time is to target The root note so I can look at that root note and I can say there's my C's There's my C's and there's my C's So if I'm if I'm just playing something over here if I'm new limping around and a C I can play any of these chord constructions from the From the C major scale And then I can basically possibly lead up possibly following one of these fingers Here's my a finger that's on the C right here and then maybe leave that into my Into my position. So now I would leave that into my position over here so we're now in Boom and then I and then I can noodle around Maybe end on this C up top, right? So I kind of went dude, dude, dude, and now it kind of feels like home a little bit So we talked about up that a little bit last time The other thing that you might want to know what whatever you're playing over here if you're like, okay, this is my C Chords that I'm playing. What is there another C chord over here that I can find home in so that I don't feel like I'm going like Okay, I'm over here and then I'm like And then I have to jump back over here to get home one way to get home over here is to say I'm not gonna play the whole cord I'm just gonna Play that one note and that still kind of feels like home But you can also say well, what if I what if I built a C chord over here that's in this shape? So to do that you'd have to find the C E and the G So if I was to find that if I was to say look at that C We're what am I gonna do to build a C chord now? Most people would build a C chord going up right you'd be up here and then you would build the shape You know going this way, but that's outside of our That's outside of our our shape. We can also build it going Backwards which is less common because people are gonna jump to bar chords But it's useful to know because even if you're not playing that shape You can noodle around and you can you can arpeggiate the shape, right? So we learned like when we learned of these shapes over here We saw that this that the third is gonna be down one and back one So you can say okay the third's always gonna be right there So even if you even if you don't know where the fifth is Going back or even if you can't reach it then you get a more of a resolution sound Playing those two which you can play like this or if I'm noodling around over here You might put your pinky up there Just a little bit more difficult to do So that gives you kind of a resolution found because because you said you have you have the the two major Components that make it a major C the root and the third the third being different Than than a minor but you also can see that you have the G down here So if you wanted to play the whole thing, you know, you could play it like this now There's a couple different fingerings that people could do you can use your pinky up here So that's Fairly comfortable although you're reaching with your pinky if your hands are a little bit bigger You can actually reach over here with your with your ring And you can actually strum that most people don't think of that Chord as often but it's not too difficult to play and it gives you it gives you that C chord in this position Now the other way you can think about this is that this is a G shape, right? So we saw and we'll talk about this more in the When we get into the caged system But notice if you if you think about it, you go to say okay this boom boom boom that's the That's a G type of shape over here, right? There's my G shape Here when I move it up here It's not a G anymore, but if I was to move those fingers up I have the G shape these three strings are are open I can't really play those using that same fingering But I can still use it to target and say okay Well, wait, that's kind of like I can just deconstruct this shape and use pieces of it To do what I want to do with it because I don't need all six strings I I can do what I want With just three notes, right of even two notes would be fine So so and this so this you can think about this then the shape right here is part of that G It's part of that G shape. That's the upper component Of that G shape now also just remember nobody mostly nobody actually tries to bar out that G shape Right, you could try it right. You could try to bar that out. That's going to be difficult But it doesn't mean it's it's useless. It's not like what say well That's a you that's the cage system has that move up there But no one uses that because you can't possibly play that unless you're crazy You got some crazy fingers or something right, but that's not the point the point the point is that That it's going to give you an anchor in position And then you can you can visualize it that way and then you can take it apart to do what you need because you Need three notes in order to make a chord and you don't even need three notes really to really visualize the fact that you're Arpeggiating those are the major chords that you're kind of targeting So one way that you can take those three is up here and the other one is down here So we've got this shape down here. So I can play So we can play then And that looks like an a shape right Most people would call that an a shape if it was an a bar chord you would be reaching back to this one So we could reach back to this one and that would make it An a type of bar chord, but we're playing actually a C Chord, but the reason we call it an a is because if it was over here in open position It would be an a so it's an a shape that we moved up here, but but note if you just play this It you can see it as either an a bar type shape or part of the G bar type shape Because because that's the the ridge point between the two in order to call it a full a type bar shape You'd have to reach back to pick up this note the root note otherwise This is also part of this shape up here, right? It's the same thing so You can see it either way, but the point is that you can see okay. There's another Another shape I can use and I can think I can finger it with just one Finger like that. I don't really have to reach back to that full bar chord. I could but if I'm up here noodling around And I need to end on a C then I can bar I can bar that off and that should take me to basically back home It's an inversion because the C is not the lowest The lowest note in the chord, but it's still going to be a C major chord So you can you can use that one. That's another one to target and Then you've got this bit down here, which is a little bit more difficult, right? So these two you've got the the root and the fifth above it and So you so so like if I was to play those at the same time you get that high That higher whoops over here. Here it is So if you but if you wanted to pull in the third you're missing the third, right? So that's kind of like a power chord because it only has The one and five, but it's kind of inverted that there is a third up here So that's kind of a weird construction of it. You can try to play those two and then the e back here So you kind of arpeggiating back to the e so those are those are basically the home base in terms of The actual chords so now if I'm if I'm playing over here, and I'm just noodling just in the key It's just basically in the key of C and then just trying to Put some stuff in between it just to play around with this key to see where I can work what I can do with it Now I can I can move up to this position possibly leading in with this finger So I'm not losing sight of the guitar I'm gonna target something as I move in and I'm like okay now I'm in this position and when I'm in this position then I might try to noodle around up here I can do anything I want within this shape But then I might want to end on a C and I could try to end on the C instead of just Ending like that I might Try to end with a little bit more of a note Right I can follow any of these any of these strings in the other one to follow in is often Gonna be this one down here, right? I could follow this string in if I'm noodling around So now I'm just gonna say all right. I followed that string into my fingering position So that's my anchoring string now, and I'm on this fret so I can be like okay. I know I can I Could do that kind of whatever there, and I know that my C is right there, so that'll basically end it if I wanted to if I wanted to to end it right there or There's my There's my C and my G like a power chord inverted which kind of sounds like a resolution type of tone or I can of course once I'm in here I Can end it with these three right? I'm just noodling around and then I'm like I'm gonna be like Going here, and if I want to go back home, I could do the same thing I'm gonna maybe sit on this string right here Because I know that my C is right there right and I could follow that home So there's my C right there, which I could play this way, which is my a shape the same three over here or I might Change it back Right now I'm playing the C a so I can move my fingers and when I place these fingers. I'm usually starting But I'm putting my fingers down so I can so I'm trying to find a way that I can slide in here And you probably you probably want to do that in a way that you're not like taking your fingers totally off and then Because you're not gonna know where the fingers are going at least at first So you might you might say okay? I'm gonna talk how am I gonna slide in there is basically what the thing is so I'm gonna slide in there most likely with this finger and that'll take me to this position which puts me right into my my nice fingering position And that I can end basically in here so so the other thing obviously if you're playing any of these other chords and open position Add any of these other notes In there and noodle around you can take your fingers off and possibly when you get to that see then that's when You might put a little emphasis on it to kind of in that's another way to kind of round it out like when you're noodling around I'm on a C Going to an F And then I'm going to a C, but I'm kind of ending it off with a little round off. So I'm gonna go You know that so now I can kind of end it at that point if you if you want to Use it that way so that she can have a little extension at the end which which is works pretty well You can also An F to a G instead of going back to the C instead of going back to the C And then end it you know in here somewhere right with I'm trying to end it with basically These three so you're gonna end your phrase Targeting there and so what you want to do is is have some kind of idea of what you're targeting in here Otherwise what you end up doing is you don't you're you're gonna you're gonna stumble on something that sounds cool But you're not gonna know you're not gonna have any idea of like where you're going Because you want to always be thinking I'm trying to create tension and then resolve the tension That's the whole that's the whole musical thing, right? We're trying to create so we're on home I'm trying to create some tension. I'm going away from home with a with a An F to a G. I'm still not home yet. I'm gonna noodle around Home Right, so that's the kind of idea that you and you can't do that unless you have some idea of what what basically you're targeting In here so and so so which we want to get good at is basically sliding in possibly with this finger and possibly with this finger and Then saying worse home There's home worse home There's home with those these three notes. Where's home There's home and that sounds kind of nice to you because if you play this leading note going into home that's one of the nice things about The major chord construction, right? You get that lead into it. You can play it up here Right, you get that leading tone So and now the once you once you do that you could also target then instead of targeting the root note You might target the third and so so that's gonna be your secondary kind of targeting Note, right? So I'm still kind of thinking I'm in the key of C But I'm but instead of being like too blatant about it being C ish I might be going in here and targeting like the E and that leaves you kind of hanging a little bit and then You might end it right here, right? Then I'm going back to the C over here, right? I'm just ending on the I ended on this E So now I slid up I slid up to this E and I'm gonna work my way down to this C So I'm up here, and I'm like, okay And then I'm just stopping there. I'm letting it just hang on that E and then Right so and then and then of course the fifth is another is the other one that's in the key That you can kind of target now the fifth doesn't have as much kind of emotional Feeling to it as the third because the third is what gives it that major feel to it because that's the distinguishing tone between the the The major and the minor but you can see you have your G Right here, and there's a G right here. So if you really So I'm just basically noodling around and I'm trying to target those in things before I go back Now you could you could target something that's outside of of your notes entirely, right? I could like pick an a if you do that you probably and you know an a is at least in the pentatonic shape, right? So so so that might sound so I could try to target an a even though I'm on a C right here And it should be okay, even though that's not a note that's in the C chord at all But that's gonna make you feel even further away from home right because you're not you're not even you know, we're kind of close You're not really close to the ones taking you home and then you could pick the ones that are outside of the Pentatonic the the the the B right here for example is gonna is gonna be that leading tone So you kind of you kind of almost have to end it after that one, right? So if you're like here's a B right there So you almost like it wants to go Home right so if you play that if you play something with that B in it Then you would think you'd have to you would generally want to resolve it unless you just want to keep people hanging So then you end it off with the with the end Keep on deciding if I want to play this like this I keep on thinking it would be better to do that But I can't reach my hands are not quite big Right so that's so that's the general idea Now next time we'll try to target some of these other Chords and still think of ourselves either as the key of C or in a related mode To the key of C, but note that if you're kind of if you're kind of switching chords here When you go to an F then of course you can target the notes in here and you can do that Still up top so you can go up top and you can say okay now I'm targeting the notes in here which will still include these three notes because I'm Constructed my F from the key of C However, you also have the ability to say what if I what if I kind of move the shape To to where the F is right? I can I can think of myself as saying I'm gonna move the entire shape to the related position on the fretboard and So we'll talk a little bit more about that later I don't want to get into that in a whole lot of detail right now Because we're gonna because we really want to kind of we're kind of constructing everything around The key of C right now, but I just want to mention that because that often is kind of a Confusing thing will probably mention it a little bit more once we get up to Plant doing the same thing But in these other in these other chords, right? So so if you're playing something in the key of C for example, and then you're switching to the F You could basically go up here and still noodle around in a similar way as we did in open position Or you might try to look for the related shape that is in the F That is in You know F major right so we'll talk more about that later You can also think of yourself with these same notes these all these same notes as seeing yourself in the related mode Here so that you're kind of playing as though the F is the one and you can basically practice it that way in which case You'd be using all of the same All of the same notes that way, but we'll get into that later. No rush. No rush. I Said no rush. I don't want any life insurance Go away rush Dang insurance salesman apparently the sales school taught rush to take note not to take no for an answer Now it's sale time. So remember we don't take no no We don't take no prisoners. We don't take no for an answer. So no matter how many times you say no rush Rush just keeps on rushing it anyways. That's the general idea. We'll get into it next time. Oh, yeah We don't take no for an answer