 Guitar and Excel, open chords, C major scale, G major chord, fingering. Get ready and don't fret, remember the board's totally fretted already, so you need to be the calm one in the relationship. Here we are in Excel, if you don't have access to this workbook, that's okay because we basically built this from a blank worksheet, but we started in a prior presentation. So if you want to build this from a blank worksheet, you may want to begin back there. You don't necessarily need access to this workbook if looking at this from a music theory standpoint, because we will simply use it as a tool to map out our fretboard, give us our scale and related chords that we're focused in on. If you do have access to this workbook, though, there's currently five tabs down below. Now we've got the three example tabs, the OG tab and the blank tab. The OG tab representing the original worksheet we put together in a prior section, it now acting as our starting point as our baseline, mapping out the entire fretboard, giving us the entire musical alphabet and letters, numbers and both providing us the key so that we can change the key that we are working in, which will then provide us the related scales and chords worksheet on the right hand side. So we've been copying this OG tab over to focus in on the C major scale and the chords that are constructed from the C major scale, starting of course with the C major chord, which is on the example C tab. We minimized the entire fretboard to get to the open position, which I'm defining as the first three frets. And then we mapped out the fingering coloring it so we can see the one three five of the chord and then we mapped it on top of the pentatonic, the major and so on and analyzed it from there. We did a similar process for the chord of the F major skipping from the one to the four, because the one four and five will be similar in nature in that when we construct them from the major scale, they will end up to be major chords. So we want to see the similarities in the fingering of these chords as we look at them. And then we'll go into the ones that happen to make minors, the two, three and the six. And so we did a similar process here, looking at it in open position and then in relation to the scales as well. Although noting that we are keeping our focus on the C major scale and looking at these other chords now in relation to the C major scale. We're going to do the same thing now for the G. So we're now focused on the G and we're going to do a similar process. This is the end result. We copied over the OG tab and the blank tab is where we're going to be starting at this point in time. So we constructed this worksheet last time. We copied it over. We minimized some cells. So we can see the major worksheet next to our fret board. And then we once again mapped out the one three five notes of the scale. I mean, of the chord on our fret board. And we also constructed it on top of the pentatonic scale and the major scale. And we looked at some other things down here as well, which we'll think about in future presentations. Right now we just want to be up top and looking at the fingering. So what I'm going to do is hide some cells up top. I'm going to go from E and I'm going to go to N. And I'm just going to look at that open position, right click and hide those items. So now we're looking at the five note. The five note is a G of the C major scale. And we constructed from that the G major chord, which is what will happen when you construct from the five note of a C major scale and that you will get a major chord. So in this case, we start, we can think about it starting here in our circle of the C major scale, skipping every other note to get to a B and then to get to a D. So those are going to be the notes that are constructed. When we do that, the intervals happen to be the third here. That B is four notes away from the first note we started with, and that means it's going to be two whole steps or a major third, which makes it a major. And the fifth is always going to be that seven notes away note. We can also look at it in terms of if I constructed this in the G major scale. If I go to the OG tab over here, adjust my worksheet to be an 11 or G, then it would be the one note right now would be the one and it would still be the one three five of if I'm starting on a G, right? So the one three five, which in this scale would be the one three five, the G, the B, the D. So if I go back on over here, I'm still going to call it the one three five, even though I constructed it starting on the five here and then skipped every other note in this scale. OK, so we'll talk more about that later, but just a quick reminder on that. We then map this out in open position, which I'm defining a couple different ways. One, anything that we're playing within the first three frets and two, you can think about open positions as those that need some of these open strings in order for the fingering to work in open position. So this is a classic G open position. This is one of the fullest kind of notes that you can or chords that you can basically play because all the strings are going to are going to ring out with it if you play it basically in this format. So you get one of the fullest kind of sounds with it. But remember that you don't have to play the entire thing. We could we can play it different ways. But let's first think about the normal fingering. Now, people will have debates on the fingering of the G because it's you can finger it basically different ways. Let's copy this and say and put these on top. So we need to have at least one of each color to make it the proper chord. Right. So we're going to say the normal fingering would be here, here and then these three are going to be open generally. Right. So I'm going to say there. And then there and then there and then here. So that's just going to be the normal fingering. So that will typically have now most people will start off and say you do it this way, this way, and then this finger down here. So pointer here, the middle finger here, and then your ring finger grabbing that one on the bottom, that one on the bottom is a bit of a reach. Notice that that you want to get good at being able to reach that. But if you're not good at it and you just play this, you're still OK because you can mute that E at the bottom because it's not in. Even if you ring it out and you're in the key of G, you'll be if you're in the key of C, you'll be OK to ring out that E because that'll basically be the 13. But you can mute it with your finger and you're still basically playing a G because you're playing boom, boom, this, this and this. So but the class but usually you would be fingering that and getting that last G down here. Notice that everything we're playing, even though we're getting this really full six strings to ring out is one of these three notes. We've got this is the one, this is the major third, this is the fifth, the one repeats. This is going to be the major third again and then you get back to the one. So it's good to just kind of practice, practice that. That's probably the most comfortable position with it. You can, of course, practice going back from a C to the G and so on. If you're thinking about this in terms as we are of us being in the key of C and you're playing the five of it, then you kind of want to be going from a C to a G and then back to a C to make sure that C is kind of your tonic, your root note, and then you can, of course, add the other ones that we have in play, but always keep the C is kind of like your tonic. So I'm always kind of keeping the C as the as the tonic. But notice that you could say, well, I'm still I'm just going to pretend like the G is the tonic, even though I'm playing all the notes in the key of C. I'm not going to switch over to a G scale. I'm going to stay in the C scale, but I'm going to be making the fifth now my tonic so I could start doing the same thing. But say this is it's a little bit harder to do that because because naturally, you know, the C is what you tend to gravitate towards or the related minor, which is an A. But you can do that. You can practice and stay in the same key instead of switching to a G, which you'd have to switch up all the notes. You're basically playing in the mode. And just remember that when you do that, you're in the mode of the fifth, which is a G, and the modes are on the right hand side. So I'm going to go to the right until I find the G mode where the G is the one. So I'm going to go, OK, so there's the minor. There's the Dorian. And then we have the Phrygian. And then we have the Lydian. And then finally, this isn't the last one, but this is the one, Mixolydian, where that five is now the one. So if you wanted to put this side by side over here and think of it as a different mode. And use it as the one. You could, of course, do that. You can go all the way over here and right click and hide all that stuff. And so now you're now you've got your G as the one. But notice everything is just switched around. That's all that's happening is the mode. You're just thinking about that as the tonic. And now you can see that the one and the four and the seven are now the major chords, which which are still going to be the G, the C and the F, just like we had before. But now you can more easily possibly see the G as the tonic. So it's that might be useful to flip that in your mind or sometimes it's useful to just say, OK, I'm going to unhide this and just think of it as I'm going to hide from here over to here, right click and hide. Sometimes just think of it it's easier, I think, to start off to think of it. OK, I'm just going to play the same chords that I've played here, but I'm going to I'm going to keep on gravitating back to the G, making the fifth of the scale that I'm in C major. The fifth of that scale is the tonic, which means I'm playing in another mode. But I'm just making thinking in my mind, I'm just making the five, the tonic or the home base, the thing that I'm going to hover around all the time. Now, a lot of people will argue that it's better to play this way many much of the time. This is uncomfortable if you haven't learned it that way, right? And it's difficult to grab that last string down here when you're grabbing it this way, a lot of times people will say you don't grab that last one, grab this one, and even if you have small hands, that's going to be something that you can typically do. So you can play it this way. And the reason a lot of people say that that's better is because or it's not always better, I hate to say like, you know, one position is better or worse. Like you should do it all the time. But there's merit to saying that that's going to be a useful way to play it a lot of the time, because if you're going from like a C, the C looks like this and then I'm switching to a G. It's faster for me just to do that, right? So you could see the the the motion. If you're trying to reduce the motion of your hand, that's going to be a lot faster. And the F is the same way. If you play the F like this, which I often do, going from here to here, it's is more economical. It's more of an economical or less movement of your hand, which you typically want to do and get practice with. So I would still do them both because I learned it this way. So I have difficulty not doing it that way. And I think there's advantages to this as well, because if you do like hammer-ons, that's a lot easier to do when you're pivoting off of this finger. You can finger like you have a lot more mobility. When you're doing this, you can still do it. Is that still a pretty strong position? But I find, for me, that this is a I have more leverage than this, even though you still have pretty good leverage here. Also, note that when you're playing when you're playing this way and you're moving up like this, I like to this fingers like your pivot point between a C and F and a G, right? So if you're playing if you're playing an F, you can keep that finger down and pivot to here, right? And then I can keep that finger down and pivot to here. Notice that that note isn't in that note is right here to C. If you played it, it would be an 11 when you're looking at it in the terms of the key of C, so I could play that. But when I put this pinky down, I'm putting it on the same string. So now I'm putting my pinky down right there. And then I'm going to just mute the last string with my palm. So so now, even though I have this finger down, so I have this finger on the B, it's not really plain because I have my finger on the same string up above it, which that's the one that's going to ring out, of course. So it's going to ring out as a D. But that allows me to keep my finger down, which is useful sometimes that I can then use as a pivot so that I can pivot from here and then pivot to here and then pivot to an F and then pivot to here. And that's you can see the economical movement there. You save a lot of motion when you're playing it that way. When you play it this way, a lot of times, if you're if you're going to do some some picking stuff, then this is kind of nice because then you have your you know, it's you have some stuff to do there. And if you want to go forward with it, sometimes it's useful to have your fingers. Here's the bar chord that we looked at last time. This is a G, another form of playing the G. So if you're moving up from here to here like that, then then I think so there's I think there's uses for each of those fingering, but this is the most comfortable for most people. Now, remember that you can play this different ways. So it's useful to kind of say, OK, what if I deconstruct this kind of thing? I could play just these top strings and I would get I'd still get a G. That shape is a useful shape to be able to see, too. Because if you play just these strings and this one is open, then you're playing basically a G and I'm just not grabbing something down here. So sometimes that sometimes you might want to do that because you maybe you don't want to play everything everything else because this is a full rich sound, but sometimes sometimes you want something a little bit like less than full sound. So you'll take a piece of the G. And so here I'm just playing like the the root and then the third, which is the essence of the G, because that the third is what differentiates it from a major and a minor. And if I if I if I play that if I just lift this finger up, then I'm revealing an E and the E minor is also in this key. So I can so if I if I reveal that if I do this and I go that's a that's an interesting little shuffle pattern. Oftentimes, it's kind of fun to play with, right? And you can play it in the key of E or you can make the E the tonic or the G the tonic. So remember that you can always if I'm thinking about this in the key of C. I'm playing the fifth chord of the key of C. I can always lift my finger up and reveal any of the strings over here. And they'll they'll be in the key. So when you start kind of noodling around with this can lift up a thing. And they'll and you won't necessarily be playing a note in here, but you'll be playing something that's still in the key of C. So you can kind of mess around with picking your fingers up. Now, this position right here, if I was to imagine moving it up is a movable position, right? Because if I put this fret down over here, I can move it up. And that's a useful shape to know because that's going to be the classic shape that you will see when you're mapping out the one three five of any major of any major chord, right? This will be the one, the third. And this one happens to be an A in this case. The third will be down one back one. And then the fifth will be down another and back another fret. So it's not the most comfortable shape to play, but it's it's nice to be able to recognize it. You might be able to reach it this way to it's nice to be able to kind of recognize that shape. And you can see it right here because if I play these two notes and this one's open, that's that shape. If I think if I re finger it like this, then I have that movable movable position. OK, so what else do we so we have those three? You'll also notice the you can play these down here. You don't normally do that with it in an open position because you don't really need to do anything. You'd have to mute. You'd have to mute these top two strings to play that right. I can mute this top string and just play the open positions. Right. I can mute these two with my thumb. Just play the open. I can mute that one, too. So you don't you don't normally do that in open position, but you'll notice that those three notes are clearly movable, right? Because I've got everything I need to make the chord. So if I wanted to move that up, I'll have the related position will be there. Now, you might recognize that as an A kind of shape. It looks like an A because that's what you actually hold down. When you do an A, you don't do it on the nut. You do it up here. And when we get to the caged system, you'll see that this G shape is right next to the A shape. So you can kind of see, you can envision that as an A shape. But when we move the A shape up, you're actually going to have to see the A looks like this and then the nuts right there. So I could play it with a bar like this and then I can pull that bar up right like that. So so so. But a lot of times you might just drop this note. You don't really need it. And the easiest way to play it is just like this, right? Now I'm just borrowing these three off and I still get I don't need the other root up here. And so that means and that in this little bit right here is like is like the intersect between the two shapes. So you can see it as part of the G shape or you can see it as part of the A shape. And so it's just a useful thing to note. And then down here. Then, of course, you've got the ability to play these items down here as well. It's going to be a little bit more difficult to pick it up because you're going to need to pick up that third. But you know, you can play something like that. So in any case, the next thing the next thing you might want to do is think about how this might move if you were to move it up. Now, a lot of people will say that the G, the problem with the G, is they figure you can't move it up really easily. Because if I look at this shape, no matter how you want to play it, this full shape or if you play it like like in this format, you have all these open strings. So how in the world am I going to if I if I pull that up, I'd have to pull it up here and then I'd have to bar way back here. And that's difficult to do for most people. Some people, you know, could be could really practice that and pick that up. You could practice that and pick that up. But remember, the point is that you don't always need this full shape. This full shape is great to ring all the strings out in open position. But when you're not in open position, you don't always want all the strings to be ringing out in this full thing. You want to switch up the voicings. You want a different voicing, right? So when you move this thing up, then you can move up part of it like this, like these three notes, for example. So if I moved it up here and I see that same shape, then I can move it up like that. Or again, these three, which people generally will think of as the A, you know, A shape and A shape, you know, that part up. So now if I was to move it up, if you want to practice, we'll talk more about the cage stuff and all that kind of stuff later. But if you wanted to practice moving it up, then the question is, where can I move it up to? Well, you can move it up from if you're thinking of yourself in the key of C, then I can move it up around the top back to the one, because you could think about this as a circle. So I'm on the I'm on the five. And then the next major shape is going to be back at the one. So the one is right here. You can say, yeah, but the one is right here. There's the C, right? But but no, you're going to move. You're moving it up this way until you get to the C that's in this shape. So let's see what that might look like. Let's unhide some cells up top, D to A, K, right click and unhide. And then I'm going to hide from. Let's go 14 from 14 on over to here, right click and hide. And I think we made a worksheet down here somewhere. So we'll scroll down and we saw here we made this worksheet. So now we have the G in the open position. And now I can see if that's my tonic right there. That's my that's the root of the note. And next I'm moving. I'm going to move up until I go around the circle and get back to a C. So I'm looking for the C on this string. And if I move up, there it is on the eighth. One, two, three, four, five, six, seven, eight right there. So again, like I said, so if I do this, you know, I could possibly do this because now all those open notes will still ring out if I'm thinking about it in the key of C, but the register will be so different because you're up the neck that it might sound wonky, even though they're all in the they should all fit in the key, right? So so but now you're playing in you're playing a C, but with a G shape, right? So you could do it like this. I can go boom, boom, boom, just like we said, with that fingering, adjust the finger until it looks like that, which you might be able and you might be able to reach it this way. And notice I'm muting all these other strings down below so you can practice kind of moving that up. That's a little bit difficult of a shape to play, but you can see the one, three, five, clearly that way. It's easier to play these three just like that, which you can see as an A. It looks kind of like an A shape, but the A shape would be like this because you're bringing you're bringing this route in. That's the classic bar chord on the second string for a major bar chord. If you just play this, you can still think of it as an A. Most people do an A shape. This isn't an A because it's a C, but it's an A shape. But you can also think of it as part of this G shape, right? Because it's the intersection between the two. And then if I move this up again, the next one would go in from a C to an F. So if I move this up to the F, I'd say, OK, I'm looking at the root note again. I'm on here, there's the C. I'm going to go up until I hit an F, which happens on the 13 after it starts over again. So here it starts over on the double right there with a 12 and then a 13. A little difficult on this guitar because it's a smaller guitar, but you can see it right there. You can play it right there and then it probably be easier to play here with actually with just the bar like right there. So there we have it there. So you can practice moving it up that way. And then you can also think about it. Well, what if I switched to the key of C, right? Or what if I switched to the key of G? So now I'm in the key of G and you would think that you would see it here. And then you'd have it at the one, four, five. So here's the four. And so there's the five. So now if I switch in my mind, I'm saying, OK, now I'm playing the G as the one, there's the G as the one. Now I have a whole different set of notes here, which we'll talk a little bit more about next time. And if I go up to the next to the four, if that was the one. And again, I'm just showing you this. We'll talk about the G map everything out in a G scale later. But just if you want to play around with the shape, you can say, OK, well, if that's the one, then then I can say there's the G. I'm looking for the C. There's the C. So in here. Let's map this out. I'm going to I'm going to clear the formatting and say clear the rules. And then let's map it out in here with these notes. So I'm going to say, boom, equal to this is going to be the green is going to be the green. And then actually, I don't want this part. Let's clear the rules over here. Clear rules. And then we're going to say this is going to be equal to that one's red. And then this equals this one, which is going to be yellow. Boom. OK. And so so there we have it there. So if I was playing here and think of it as the one and then I can go up to the eight again, so this is one, two, three, four, five, six, seven, eight. And you could start to see, OK, it's going to be that C. But now the C is the four position if relative to the G being the one position. And then I could copy that over and say, OK, the next one is going to be a D and the D is right there. So the D is a lot closer in this one. Let's map that out this way. Just so I don't have all my colors overlap. I'll say there's when I look at the D. I'll make this one. Outline yellow. There, boom. There's that one. There's that one. Right. And then here's the A and here's another D and here is the F sharp and then boom. So you can see how they kind of overlay. And so when you're starting to play this, if you want to play this way and start to move this shape up, imagine it as the one four five. Then you can you know, you can move this shape up towards the C right there and play it however you want to play it this way or like this. You know, and then you can play it from there. And then if it was the one, I could just move it up to the D and look at the relationship that way, right? So that's going to be the general idea. So next time we'll go into this and we'll map it out in more detail against the major scales and the minor, the major scale and the pentatonic scale. And then we'll talk about the intervals for it.