 Guitar and Excel see major a minor scale fret number nine focusing on the G note Get ready and some coffee because sometimes the guitar is all you got man. It's like your guitarian angel Yeah, yeah, let's see what I did there guitarian angel No, whatever Phil Grown all you want at the pun. It's all I got honestly If you had any class you wouldn't be here in the first place What do you mean? I stole that joke Phil whatever see now you're now you're undermining my authority You're breaking rule number one questioning my authority You see what I did there Phil with like it with like an image of somebody digging like an actual mind under the author Because you were like undermining my authority, you know like as a joke author Yeah, and that one was all mine Phil that one was all mine That's why I'm the one speaking to the microphone Broadcasting worldwide and on a yearly basis pulling in dozens of views Dozens of yearly views Phil While you're just sitting back making snide comments pretending to edit and making ten times my salary Broke again here just like in real life Honestly, we we really need to stop this DEI stuff Whatever cut cut that last bit out Phil We don't want to get in trouble with the woke algorithm or anything Here we are in excel if you don't have access to this workbook that's okay You could just follow along But if you do have access it's a great tool to run scenarios with quick recap of the project of thus far Noting that you don't have to have watched all prior presentations to follow along with this one But a general overview of the overall project can help to orientate us So let's go back to that first tab to get that overview. We've been looking at the C major scale and Related modes started out looking at open position Which we defined as frets one through three Remembering that this E represents the low heavy string the one closest to the ceiling for us Funnest way to map out the notes in open position is to construct the chords from the scale Starting with the one chord the C major chord which we then mapped out in open position Discussed in detail we then move to the four chord because it has a major chord construction as well Mapped it out discussed it in detail then the five chord then back to the two because it has a minor chord Construction and then the three which is the same the six which is the same and the seventh which builds a diminished chord After having mapped out all the notes from the chords in open position We will have basically mapped out the C major scale and the related modes Which will look like the blue notes basically here in open position We then jump to the middle of the guitar in fret five Where we wanted to learn that part of the guitar not starting with chord shapes But rather with scale shapes that we can then tie into what we learned in open position so we discussed that position and Discussed it in relation to all the notes in the C major scale and related modes We then jumped to the next position which we could call position two or an E shaped position starting on fret seven Did a similar process Mapped out the scale both pentatonic and major And then focused in on each note in the scale and related modes And now we're working on the next position over Which is going to be starting on fret number nine Which we can call position number three or you can call it a D shaped position possibly if you would like And we're we then discussed the shape the fingering of the stake of the shape We talked about the intervals within it and now we're going to be focusing in on the fifth note of the C major scale the G note Which you can also think of if we're hovering around that note as basically a mixolydian type mode Although we'll talk more about modes specifically later. We're going to basically be focusing in And making in essence the fifth the tonic quick recap of all the colors that we have here What is this thing doing? It's cool. It's quite chaotic We can imagine that all of the colors are something that we can play within the scale They make up the C major scale and related modes We can imagine the blue notes are on the bottom Representing all seven notes of the scale that we are working in we then put green on top of those blue notes Which are the five out of the seven notes in the pentatonic Scale which fits perfectly into the seventh note scale And then on top of that we put the three notes that make up the chord that we're focused in on Noting that the the pentatonic scale this five note pentatonic scale Fits perfectly into a C major and the related minor mode But does not fit perfectly into most of the other modes because this four Note as well as the seventh note as we can see here in the B Will have an impact or might be showing up in basically the the chord construction So that's something to just keep in mind if you're thinking in terms of pentatonic scale And then adding notes to it if that's the way the way you like to think of things Then when you're looking about playing at a different mode You have to add the note that you need to basically add we're looking at the full seven note scale And then mapping this in within it Then we have these basically chunks these colored chunks are trying to break out our fretboard into horizontal Or vertical type of shapes Remembering that as we break out the fretboard into these chunks that we're usually tying into the related major scale In our case the C major scale in other words We're focused on the fifth note of the C major scale which is note number 11 or a G And the major chord construction from that note Which is a G major chord if we make that fifth the tonic Then we're basically playing in a mixolydian mode But usually when we're trying to figure out where we are in terms of scale shapes on the guitar We're looking at the related major scale in this case the C major So in other words if i'm looking at open position I can try to define this shape as I could say shape number four Or if you want to tie it into open position shapes, I'm going to tie it into the C shaped position Which is going to be related major and that C fits into this Into this shape and then we can basically label this whole shape around that C even though We are focused on now the construction of the G The G chord being our point of focus the first of the G chord being light green the third red And then the fifth yellow we also put some brackets around the major fingering that we typically use That will be matching the brackets of the shape position We are in the blue being position number four or the C shaped position Which is a little confusing because we label we could label this position Based on the C shape which is three notes out of the seven note chord But we also note that this G shape fits into it. Why don't we call it a G shaped position? Because this G although it fits into the seven note position would not fit into the five note like pentatonic position Those are so that's kind of what allows us to say look This is a C shaped position rather than a G shaped position to try to mark in our mind what we're talking about But we're focused on the G. So here we have the the blue is mapping out our Our notes in that position. It's outside and overlapping in this overlapping section to the next position Which is going to be the purple the purple is what I would call position number five or an a shape position If you look at it in terms of the C That's why it's called an a shape position because we're labeling it based on the related major Even though we're focusing on the fifth, which is a G. So the a would look uh like this Right, we would be a dude going here a shape C major chord But we're focused in on how the G's rolling forward So the G fits into this next position position number five or the a shaped position with a With a bar chord looking like that Which is basically an E shaped G major chord. You can see that because here's going to be your Uh E major shape if I put it up here and then bar it there it is The purple is inside of the blue because that's the overlap and then over here leaning forward The purple is outside of the red because the red's going to be the next position where there's overlap So the next position is what I would call position number one or you could call it a G shaped position It's a G shape position not because of this G But because we would have a G shape for the C Major chord so in other words the top of this shape Is up here And you have this dude down to here So this would be like this G shape that we could basically put up here But we would have to play it like you know this way And so on or this way to play the two halves Of the shape if we were playing a G shaped C major chord But what we want to be doing is thinking about how the G Uh fits into here. So the G would have a D shape which would look like this Here's the red in here and then usually you can play this note and this note That's going to be one way to play it most people see a little D triangle up top But if it's only a D triangle kind of if you think about it leaning backwards This way if you think about it leaning forwards Then it's going to be part of the next shape which is basically like a C shape So if we go to the next shape, which is the orange brackets right here We can label that I would call it position number two. You can also call it an E shape if you follow the C Kind of position up because the the next position up here would be like this So now you've got your C shape which is going to be an E bar chord That's your E right here And then your bar chord that you can play like that But what we're doing is trying to follow in The the G right and so the G is going to be pivoting around that D shaped we had before Which now pivots into this orange Is on the inside And then now the orange is on the outside so you can play it here. So that that little Triangle you can think about it leaning back as a D shape leaning forward It's a C shape which I could play this way Do it or you can have more sophisticated fingerings on that shape and then finally We're moving from that position number two to the position we're focused in on position number Three which you could call a D shape which is labeled based on the related major again So we would have our C here and then reaching up to this G and this E or here's our little triangle Up top if we were focused on it that way But we want to look at the at the G So the so the G within this position is actually an A shaped G generally So we went from this C Pivot around that G to here and then these three boxes right there That's the typical way that we would play it. So our point of focus is on this Box right here a couple ways we might kind of play with this box Remembering that as we learn everything up top We should be able to play all notes and all chords in every Position so I could choose any of these positions. We've broken them out nicely into What four to five frets and we should be able to play everything Within those four to five frets. That's one way that we can practice it However, a lot of times people don't know all the chords in this one fret and we're prank kind of practice One thing at a time So it's useful sometimes possibly to play something in open position that we know because we possibly know all these chords An open position or at least a few of them and then jump up to the position that we're looking at So that we can practice focusing on one thing at a time In our case the G and the related chord construction from it The next thing that we could practice is of course blending from the prior shape into the current shape So we can start moving Horizontally from shape to shape and we can then bring that all the way back To the beginning of the guitar so that we can then look for ways that we can find patterns and lines Going up and back horizontally As as opposed to just on a vertical kind of box by box being restricted to the boxes that way So I want to practice going up and back this way and practice going horizontal that way Is the general idea now remember that when we're playing this we're thinking of ourselves in the key of c But we're kind of playing around the g so in other words if I was in open position here We if we were practicing the g chord then we could say okay I'm just going to throw it into my mix when I'm playing a c so I'm playing a c f and then like the g And then back to the c so that I can just throw it into the mix But what I'd like to do is focus on it more because that's my point of practice Meaning I'm just going to kind of play around the g so I'm going to start on the g But I'm going to use all the chords And notes that are still in the c major scale Which basically means we're playing in a mixillidian So we'll talk more about the modes more formally later But we can easily just say I'm just going to be playing around the fifth making it the tonic All the chords in the c major right so I can start with with a g a a minor c f Right, so we can do something like that as well And then it's not as difficult to make the mixillidian the fifth the tonic I think the fourth is a little harder for some reason But uh, remember the little trick here is that we can take then The fifth of whatever our point of focus is which in this case is the d And that's the thing that can pull us back Home typically now if I look at a d I say well if I make a d to go home The d is a minor in our so d would be a d minor That fits into our chord construction Which doesn't resolve as nice as a d major so what we can do is kind of cheat we can say okay I'm playing in a here going to a c. I'm going to go home I can go to the d minor, but then I'm going to convert it to a major Which should give me more of a resolution type of feel for it So that's just something to keep in mind. I I that means that you're going to be playing something that's not in the actual scale And so for me to keep that straight in my mind when i'm doing it sometimes i'll i'll play the I want i'll mindfully play what's in the key The the minor d minor and then convert it To the major So that I can kind of keep straight in my mind as i'm practicing. Okay, I'm doing something that's outside so we can go major To try to basically resolve it back you can also practice with a dominant Which like we said before it could give you it could give you more resolution as well So just something to keep in mind As we're rolling through this all right, so let's first think about the scale And we're going to be looking at the same scale. I'm going to I'm going to move this orange in so I can focus just on Just on these more And I'm going to say that we're on this g. Let's just play through the scale To get it in our mind Making the g the tonic, which means we're basically making it like mixilladian But instead of changing the order of the notes To make it the one i'm just going to keep it as the five So i'm just going to start on the five and then end on the five playing my my uh Same pattern here that we played before But trying to make it sound like the g is the tonic meaning we're basically playing mixilladian But thinking about it as playing around the fifth five six seven eight or one two three four five So now we've gone from this g to this g now There's no g up top But you could go to the next one up that we can't see on the fretboard that's outside of our shape So i'll show you that we're going to go keep on going from here going uh five six seven eight or one two three four and then you could go up here five And then go back down five four three two one or eight seven six five So that brings me down to this g and then i'm going to go from that g down to here So i'm going to say okay five four three two one or eight seven six five That brings me to this g and then i'm going to keep on going Down to this d and back up so i can keep playing my scale so five four three two two three four five And every time you hit that five you might actually Play the the a shaped g major scale right there as well So that'll help to kind of get it in our mind just the same shape. We're just playing it Making the fifth kind of the tonic All right, and so then we could say okay. What's the major shapes that we can see within here now clearly we have This a shape so that's what that's going to be kind of our main home base shape that we can see That's what most people will see in that position if they're going to play a g major chord But we also have This way we can play it. We could see this is leaning up This is kind of like the top half of that c shape that's that's going into our position Over here position at number three So we could say okay. I got did it Do it and so that's going to be Back here looking like this And you could see it basically it's it's leaning back to the c shape like that or you can think of the c shape being played like this And the top bit of that Is right there So that's a useful shape because we can lead into uh that shape quite easily We can play just these three Which is very nice and easy to play because if i don't want to lean back to this one I could just And I can mute the one above it and mute the one below it That means that the tonic is basically in the middle of that shape and then we have the reaching up from from The bottom that we can basically play here. So instead of topping this off up top We can if i'm working down here We can kind of reach up this way Or you might try to bar it off But you're probably going to want to do this way So you can get kind of that high end Sound depending on how you're flowing into these Shapes So those are going to be the the major shapes that we can play and then if we're going to be practicing Within this shape, we've learned the major chords within here now, which is the c The f and the g those are often useful places to start If you're trying to play within a position Which I won't do for a long time because we've only mapped out one note in the position And so my my thought process is that most people probably know the open positions And that's why we're jumping up But if you want to play everything within this position, which we might do an exercise on more later Then you might start with the one four five because they have similar kind of chord constructions If you think about it from the related major you have like this l shape. So if that's a c The one below it Is going to be part of is is going to is going to work The one four five right so you've got then in other words You've got the if this was the you're thinking about it in terms of the c The one four five is going to be the c the f and the g So the c the f and the g and that little l shape That's the one the four and the five and then we can build the chord constructions based on that right So if you started from from the g If we're making the g the tonic we'd start on the g Playing that and then the c is underneath it and we'll recall from a prior presentation that it was the c here boom boom That's the kind of d shaped c and so I kind of mute this string And then we're going to then the uh the d here so the d Sorry, we're going to the f then and the f then has this shape which you can say this Part of the g shape Or you can lean it forward That way so those are the those are the the shapes that you can kind of Basically strum around in remembering that you also might want to end off on a d Because the d might help you to kind of resolve back And so the d in this position would be a minor But you could construct like a major d from it to get to the resolve just so you can resolve back So a d position like the minor would look like this it would be like our bar chord here And if I want to make it a major I could put this finger down sometimes it might like it's fun to play this way That would be the minor and then if you made it major You put that finger down right there just those three and then you can Resolve to the a so we might practice more of that later just in one position But like I said, we've only got really this one shape mapped out here So the next method we can use to practice is play something in open position And then jump up to this position here. So to do that, we might first say, okay What can I target in my in in this position? That's around the g. So now I'm looking at my g is the focal point So I can say, all right. Well, if that's my g I I have above it This whole bit right here. So if I'm just looking above it, I can say, all right, I've got I can always end off with a power chord Or that whole thing so So I could do something like that and if I work that into what I'm playing back here I'm going to make the g the home And maybe to like a c And then I'm going to try to jump up Notice I can play open I can play open strings is what I mean when I'm trying to make this huge jump back and forth Because the open strings all work in our chord projection Throw a c into it To the g right and so I kind of cheated I went a little bit off what I was thinking down here We also have down below this shape we could say, okay What do I have down below this shape is kind of nice because you have these two bars that you know are good So I know this whole thing Is good this whole bar And this whole bar. So that's kind of neat for this shape because that means This space is easy to play all the way down Right that hole Which is usually like the easiest thing for people to play it's kind of safe all the way down So that's nice to know and then Out within here We have then If I'm starting on this g below it I can always end off by sliding back to that b because that b is the third So just the flavor of this g major Can be felt with just those two notes because that's the the One in the three and then I can pull in that d So that's why putting your finger on this note Is often useful because you could start with that which is basically the flavor of your g And then you can reach up to The fifth which is that d right there All right, so you could kind of noodle around with that. So if I was going back here, I can say Double stop double stop double stop double stop Trying to go back to there. So you know and then we've got this this If if I'm focused on this g Then I could say, okay, what do I have around That g so now if I jump into that shape, I'm jumping here and then So I'm kind of leaning back now. And so the the main thing I'd I'd be thinking about most likely is You know this little shape that I can basically You know lean back into and and then Go back up to basically that shape which is going to end With that typically right so I can say okay if I'm on this note Double stop double stop Something like that so if I was to play All right, so we can so we can hit those two and then below it I can think about this shape Below that one and possibly try to end off With something with this with that bit, right? So so below it. I've got double stop double stop double stop. So if I was being on a g here So I can jump up here and be like anyways That's one one thing we can do it and then we might say, okay How can I blend these shapes together to try to find lines? That I can work up a little bit more smoothly So I might say okay. Well if I'm if I let's try to get to that g Which I'm going to turn around into this a shape So that's going to be one of my target points And then in the in the shape prior to that We've got like this g like this c shape This is the bottom of the shape, which is basically a d That leads into this this c shape G right there So if I so if I'm looking at this prior position then I might say, okay How can I do this? I'm going to be looking at this prior shape So if I start on this shape, here's my little d Shape if I'm leaning forward it would be going into that c shape So I could say okay. Here's my pointer finger right here So maybe I walk up and just do some nice little easy walk up boom Boom boom boom and then kind of slide up to this g Which is going to basically be uh moving forward here, right? So I could say okay If I'm on this I've got this shape And then here's my pointer finger which you don't always have to use the pointer finger But that's just the easiest one to know right so within this pointer finger area I know I've got this whole bit right here that I can kind of noodle around with So if I was to play this shape So that now I'm reaching back up to that g which I could turn around now To this g to bring me back into this shape So that's So we've got this g here we could say okay if I have This g uh here I could try to slide in Uh another finger right this finger up to basically my a or my b right here And then play these two lines Up to basically that g or you know just play this shape right here. So if I was to do that I have now I'm going to be focused on this finger And I'm just going to pull that right in get in basically to this shape So I'm just trying to find some different lines That I can go from this shape to the other shape obviously The other way we can do it is say if I just turn this shape around From this g to this shape right here Then that would be the most you know direct way Because if I'm just taking this shape right here So that's just basically playing the different ways of the of the same shape the cage system But you want to most likely find ways to walk from one to the other So if I go back from this this one in the orange And I say well where's my pivot point to go back this way where you still have got basically that d Shape so I can say okay. What if I go from This shape up to basically This shape and then I want to go from there Maybe uh up to like here. So we're going to say all right So how might I do that? So if I'm playing This shape this d shape on the fifth. There's my g right there So I'd be playing the g And then this d and this b And then the easiest finger to move again with the this finger This is probably the position you're most comfortable with because it's your position number one For most for a lot of people so you can kind of noodle around I might I could see this whole box going boom boom boom boom And then maybe move up to this shape to get this bit in it And then again, I might move from this shape. I could move it up To get up to that g which is going to lead me into kind of this shape. So I might say okay Hold on a second hold on a second So let's say We've we start on this shape here So we've got do do do And then I can do anything I want in this So now I'm reaching up to that g which I could convert into this Little g shape right there And then my my pointer is of course now on the d So then I could do my same little walking thing on the d. I know I have Uh That I reached up to that g again So now I'm reaching up to this g and then again now that I'm on that g I could go behind it Something like this. Let's try that again. That was very sloppy. So what was I doing? I was on this here So we could do something like Obviously that's a really rough and ugly thing But if you do that multiple times Then you'll find lines that you might you know find interesting To get you in an interesting pathway is going upwards And I think again going around these pivot points is kind of the way to the way to start to build those I I in my opinion. So then you can go. Okay, there's the there's the next one the next one back If we lean back from this red to the purple So now we're going to lean back into the purple where we have this Shape for the g. So now we're getting close to to home. So if I have this g shape Which is our bar chord then again the easiest one to work with Like a lot of times I like to work with these two right here sometimes Because that's another way that you can easily lead into a shape It's a nice easy double stop that whenever you have this shape So if I have these two then I can push those up into this shape Right so I can do something And that leads me into like this a type shape and then I can move down to that d shape on this side And then this d shape up here Which moves in to that. So you don't always have to move the The pointer But I think just the pointer gets the idea of sliding in from one position to the next So if I'm in this position, I can use that pointer to slide into this position Which is probably most people's most comfortable position. By the way, if you do get good at sliding in with like your pinky Like you might be able to do things that other people don't do as much because they're not comfortable sliding in with their pinky and whatnot So it would be worthwhile. I think to try to practice sliding From shape to shape focused on any finger to make a smooth transition But again, I think the easiest thing for most people to say where's my There's so many things right here. We're gonna focus. Let's just focus on the pointer and then slide that into this position And there's my d Looking this way. So do do do and then I can say where's my pointer. It's right there So now I've moved into this position. Where's my pointer? Well, it's right here And so now I've reached up to this g and now where's my pointer my pointer is kind of hanging In no man's land, right? I might try to put it up in this position And then slide it up to get to this This shape and you can do the same thing kind of working backwards, of course taking your pointer There's my point So we can also use this position by putting this pointer down here Another way you can play this this shape quite common this purple shape And that puts my pointer down at the bottom So now I've got my g down here on the pointer And so then I can slide up into this shape up top of that way. So I might start that And like there's my pointer and that brings me to here Or you might use that pointer to then point to to point forward Uh to the to our C shape so now I've pointed up to this one and then I'm leaning forward Uh to this shape And so and then of course I can turn it around I can say where's my pointer here It's still right here Something like that and then if we bring it all the way back to our open position Our g is up top like this So then We have our g up top and I can say okay, where's my pointer? Right there So I might say okay, I'm going to bring it from From This b And then you know slide that b into you know that d would be the cleanest thing work it down To basically that g work it down to that g Then bring it back up to this g and then possibly to that right so something like that. So I'm going to say there's There's my pointer There's my d shape This g point into these and I can work that down double stop Now i'm on this g right here and maybe I just basically turned it around to this g right there I'm going to work on my pointer again. So again, I know that's Kind of raw and messy as i'm just trying to just trying to like map out how you might think of going through lines Uh from top to bottom But I think that's the easiest way to kind of think about it and if you do it large in a systematic way then You'll you like if you practice any one of those lines Multiple times you'll get fast at it right and so you can kind of get to the lines that you're that you can practice basically what you want to do is Is keep the ringing of that g to make it sound like that is the tonic What you could do by as you go through the lines You make sure that you that you land on that g, you know from time to time as you're moving through the lines And that can give you an idea of how you could you know build this stuff up