 Guitar and Excel C major a minor scale fret number five targeting the E minor chord What hold on a second my producer wants to run a test for some reason. Okay Phil. I'm ready for your test What you want to test me by having me count to four out loud What what are you saying Phil you you don't think I could count to four? You don't think I'm an accountant Phil I know how to count to four. I I could count by fours If I wanted to at least up to like 40 if I could use my fingers count to four You know what why don't you say your ABC's out loud Phil? But you can't use like the song tune to help you. How about that test? How about that test? Whatever, I don't have anything to prove to you about my counting skills Phil I don't have anything to prove. Do you hear me? Do you hear me Phil? Is this microphone even working? Testing one two three four testing fail What what's that Phil? You have what you need now. Well, that's good. That's real good because I'm getting sick and tired of your rules Yeah, that's real good law dog cuz law just don't go around here. Yeah, I heard to the first time anyways onto the fretboard Here we are in Excel if you don't have access to this workbook That's okay because we basically built this from up like worksheet But did so in 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 chords the scale that we're focused in on if you do have access to this workbook though There's a bunch of tabs down below got all these green example tabs the yellow example tabs and the OG orange tab the og orange tab Representing the original worksheet we put together in a prior section Mapping out the entire fretboard Giving us our entire musical alphabet in letter format in number format and combining letter and number format Providing a key that can be adjusted with this green cell Adjusting the worksheets on the right-hand side to the key that we selected Providing the notes in that scale the chord constructions in the scale interval information and more We then want to look at the key of C Starting with the chord constructions in open position which are now represented by the yellow tabs down below Starting with the C chord in frets one through three. We mapped it out Disgusted in detail then we went to the four chord because it's also a major chord construction F major Then to G major the five chord then back up to the minors D minor and then we went to E minor and then a minor and then B diminished we then wanted to jump from the end of the the guitar open position to the middle of the guitar discussing it not necessarily in In chords but rather in scales. So now we're jumping to fret five We talked about it in Overview because we already have this part of the guitar mapped out We're now jumping to the middle of the guitar, but we're learning it from a different angle this time with our Scale constructions so then we talked about the scale constructions and we tried to tie it into what we learned an open position Targeting the C major chord in our new scale position over here And then we went to the F same thing with the F and now we're going to be going to Well, then we did the G and then we went to the D minor and did that and now we're going to the E minor So that's going to be our process this time. We have our open position kind of mapped up over here We're going to still look at this same Construction for our scale on the right-hand side, but now be targeting this E minor So I'm going to pull over what we did last time So just so if you're following along you can change your worksheet as we go So we left off last time on this tab fret five. I'm going to hold down control and drag that to the right and Then I'm going to double-click here, and I'm going to say this is going to go from a D to an E minor E minor and I'll just say this is the practice So it's a different tab label and then I'm going to make that blue just to show that we're practicing on that one There's the blue Okay, so this this is what we had last time So then I'm going to modify this worksheet moving it from the D minor to the E minor So let's move all these down. These need to be removed removed removed Removed removed. Why are there so many of them? Do you really need that many? Okay, and then I'm going to select the whole thing and I'm going to adjust the rules on these green red and yellow To go down to this one. Let's bring that down first so we could see what we're doing and then home tab Well, then I got to select these again and then home tab Conditional formatting. Let's go to the rules. These are our rules We're going to then go into the double-click on the green one Change the cell to the E Okay, it's not recorded yet. It hasn't done the change yet, but it'll do that when we hit a okay again Let's go to the red one change this cell to the G Okay, and then the yellow one. I'm going to change this cell to not that one to the B That's what it was before and then now I'm going to say okay, and it should adjust this over here Boom, so I think it did it. So then all the ease are green I'm going to go up top format paint this over here So there's our E and then here's our G Format paint that here and then here's our B Format paint that here, and then I'm just going to format paint the white ones onto this one And there is our point of focus now when we look at the E minor in open position we could say okay. What do we how do we play that we go boom? We go boom And it's a nice easy thing to play because we just put those two fingers there and everything else is barred off by the nut So we're gonna say it did it from here here and then this one up this one there did it and then This one. So let's put that here and then this one is Here so there's our nice E minor shape that we saw in open position over here on the yellow tabs And so then we're going to be thinking about where we can play that over here So we can first target the ease I could say okay. Well, there's an E there and There's an either now remember as we do this. We're still playing in Basically the key of C as though we constructed this from the key of C I'm gonna hit the drop down here and let's say I'm gonna go full Well before I do that We're still we're still thinking of ourselves as playing in the key of C Because we modify we created the whole fretboard from the notes in the key of C of which The three chord was constructed which ended up to be these three notes Which results in an E minor so we could then center around the C Chord and play in the key of C and then pull in an E minor or We can try to center around the the three chord here while still being in the key of C Or we could switch entirely to an E minor scale, but we're not going to switch to the E minor scale here We're going to still focus on our same shape and so let's hide some cells up top to look at the relative Mode so I'm going to go to the mode over here. There's the Dorian and So now we're on the Phrygian So let's right-click and hide So there's the relative Minor mode so I'm going to copy this over here so we can think of ourselves as playing in The relative minor I'm going to take these and put them here So if we're trying to say that we're still have all the notes in the key of C But we're trying to make the E minor the center point we can think of it as the three note or I can say I'm basically in Phrygian and try to make that my central point and and say it's going to be the one However, you want to look at it So let's just think about that a little bit more just to get that straight So if I'm in so all these notes are in the key of C So if I was to make the C the center, I can start with a C. That's how our easiest way to do it start with Back to see so C should sound kind of like home because I'm hovering around it If I want to make that E minor home even though I'm using all the chords constructed from the key of C then I can think about just playing around that three Chord or I can think of myself as just converting it to the one chord Which means we would be in a Phrygian. However, you want to see it, but we're just gonna say okay, I'm all the same chords starting with an E And I'm just trying to hover around that E to try to make that that E minor the central point That's what we're mainly gonna do here because we want to still be practicing these same shapes that were constructed in the key of C But focus on the the chord that we're playing which is going to be the E minor So once we have that then the question is well How can I basically be strumming around here and pull in some stuff from my pentatonic shape on the right hand side? Let's move this up. I'm gonna hide. I'm gonna go to full screen mode So how can we pull some of this stuff in? To our shape which is up top in fret number five quick recap of this whole mess up top What is this mess here this? You can think of it as we started out with the major all the major notes on the bottom Which are blue so those are on the bottom and they're blue and then we put on top of that The the pentatonic shape in green so we layered the pentatonic shape on top Which will fit exactly in the major shape because it's only five out of the seven notes And then on top of that we put the three chord or the E minor notes the E the G's and the B's and Put them on top but note that when we think about that pentatonic shape It's only we think about it as being related to the one and the six the major and the relative minor So the other chord constructions may not fit perfectly into the pentatonic Because they were constructed from seven notes not five notes and the note that doesn't fit in here is clearly that B Right so the B doesn't fit in it's the seven so you might not be using it, you know all the time Anyways, but but if you're switching from a C to an E minor There's a couple ways that you can deal with that if you're looking at this in terms of your pentatonic shape And you're saying now I'm going to this E Then you might see in your mind that hey that B right there is outside of my pentatonic shape And you might just target that that's one way that people often think they love the the pentatonic shape is great And so you could think about yourself as a pentatonic shape player basically But then I'm going to start targeting these notes I'm just going to adjust my pentatonic shape to pick up the notes that I'm targeting or You can think of yourself as basically playing in the key of the major key In which case of course all these notes will be included because we constructed all these chords from in essence The major key C major which is the same as its relative Phrygian mode So That's the general that's the general idea. So then the question is well, if I'm strumming around In an E over here I'm going to basically try to follow one of these fingers in and the first thing I would try to do is possibly Target either this E which is up here or this E that's down here This one's probably easier to end off on because it's got that low base note If you're just kind of playing by yourself So you might play something like an E and then this finger is pretty good to basically follow in here because it's Gonna naturally go up to this a If you follow it into your position so that E right there could naturally go up to this a And then you're and then you're in my for my forefinger pentatonic position and then of course we can noodle around And maybe end so all I did was go, you know boom boom boom boom boom boom And then and went back on my E. So I'm just trying to I'm just trying to give myself freedom But give myself like a target at the same point at the same time, right? So I'm just saying I'm gonna be But I'm gonna end on that E So I've all I've done for myself is give myself Kind of some boundaries and then kind of freedom in the middle is basically how one way you might want to think about it If you're just trying to expand your Fretboard playing around here, and then we could say, okay, let's cut this and put it on. Oh, what did I do control Z? control Z Okay copy this Copy that. So then if you're targeting this one, you know, you could do the same thing you play And then you know, I'm gonna end it basically right here So then I just knew did I just walked back up here and then I ended it basically Right there. So that's of course the first thing you can do you could you don't have to follow this finger in You can follow any finger in if you follow this finger in then it doesn't quite set you perfectly because your fingers are a little bit off But you can just make that one switch so you can follow this, you know this finger And I usually play my e by the way like this because that's because I go from an e major to a minor You might play your e like this And you might switch your finger in a little bit if you wanted to just to see what you wanted to do So if I switch my finger like this All right, you might do that or you might be playing your e like this, which is kind of a shortcut e I'm kind of muting everything down below, but I'm getting the heart of the e up top I'm playing these two and that and the top string and that I can easily just follow this string It's kind of fun to do because then you've got this bass string What one of the great things about the e minor like I say I like the minors are really fun with the guitar That are constructed in the c major because and the minors are going to be the d the e and the a Because you have this e a and d as open strings so if you play the e like this and you just kind of You can you can just keep hitting that e string and just it's always ringing out And I'm just following it in until I get to the double stop e Basically up top here, so you could just follow this finger in which is one finger and just And just follow it back and forth, which is kind of fun to do so There's the general e now the next thing of course No, you could pick up your fingers, too So if I was going here And I pick up my fingers and jump over here You could do that instead of following a finger in but when people do that that you're usually going to go and then jump over And always do the same thing right because you're going to start the pentatonic From top to bottom because that's how people learn the pentatonic So what you want if no matter what you're doing if you jump in here You still kind of want to start somewhere else from time to time So you're learning the pentatonic up and down in a way that's more fun a little bit more musical Although just playing it up and down like that, you know, everybody does that so so that's fine to do But when you're kind of messing around here, you want to jump and see can I play just like That middle bit Right and then when you're jumping in okay, so the next thing would be Can we can we construct a? Chord from this thing right so let's do it with the yellows this time I have a lot of yellows over here. So if I made a chord, you're gonna say, okay Well, there's the e and then back here. We've got the third that by the way is a is a Opposition that we want to start to memorize right the third front when I'm looking at a major would be down and back one now It's down and back to to get to the third for the minor because it's it's been flattened and then there's a b Well, that's The other color I want this color and then here is a b so now I've got our one a three a five and Another five here now that shape might look funny because you're like okay Well, that doesn't I don't really recognize that because if I if I was gonna say for usually if I was gonna say Here's my e. How would people play the minor they would go forward on it They'd say well, that's my second string down e So I'm gonna play a bar chord going this way and you could totally do that But that's outside of our shape or mainly outside of our our shape here So we can also extend it backwards which is is useful to see So one way you might see this if we look at this from a cage thing and the cage thing is less Common for them for the minors. You don't hear it explained as much But you could do the same thing basically, you know with the minors So for example, if I took this C shape, which is over here Or let's start with I'm on I'm playing I'm playing an E. So if I took, you know, my E shape over here. Here's my E shape That we started with and if I was doing the caged We'd say the next one would be a D, right? So the D shape in open position Was here. So here's our D shape when we're looking at a minor D shape This was a minor E minor D shape. Now if I move that D shape up, I'm following this finger, which is my Which is my root note to the point where I get an E So boom right there. So that's why you get that kind of D shape That's moved up same kind of cage System but now it's an E minor now really to get that full thing you'd have to play it like this and then And and hit this chord up top because remember when we play the D here the D minor This D is ringing out But most of the time that's hard to get to it's it's easy just to play this three strings Which still gives you everything you need and that if you pull that up to the E It's right there. So so this one this shape is also kind of inside where we're playing right now so in other words If I go here, that's going to be this shape it's a little bit outside and this is why the the minors people often Don't focus on them as much even though the cage system still kind of works because they don't fit neatly into the chunks That we've constructed out From based on the major chunks right because now this thing is kind of going over my two my two positions so I can't really name this position like a D minor position and after the D under the cage system you would go back to a C So then now this shape when we think about a C minor That isn't something that we learn usually as our first few shapes when we're in open position So that's another reason why you might not hear the cage system as much on the minors But if we think about it over here if I go back to the C just to see how this is constructed Here is our C shape Here's the third and one way you can think about constructing the third is to is to flatten it So if I was to flatten that third if I was to bring that back I'd have to switch those two fingers and it would look like that, right? So that's one way you can get to your minors You can take your major and basically flatten the third and that's basically what we have over here So if you look at this shape, then you're saying okay Well, what is this? Well if it was a C major it would be going here here and then you'd see it Going down to here, right? If I had this shape that was going up here I'd have my E and then my G sharp and then I would typically be fingering another E Down here that those were at least would be where my fingers are going But the point is that this is now being flattened to here because it's a minor So now we have we'd have to flatten this and we get that funny shape like that Which you're probably not going to play it that way But I just want to point that out just so you can see You know how these the Symmetry of the shapes that are going up the neck now the other useful way to kind of see it is just to say okay Well if that is my one The third is generally going to be down one and back two if it's a if it's going to be a major Third so you and that's just good to note just from a from like if you just play those two notes Then you're gonna get a good feel of the E minor because you're picking up the one and the one that's going to be distinguishing it from a major the third and then the fifth is is always going to be back Another one so there's going to be your shape so this this shape right here. I can do I can Undo these two or take those off that shape Although you might not play that shape all the time because it's kind of a reach to play It's useful to see so if I was going this way from the E if I was pivoting this way on that string I get to my barcourt. That's what everybody's gonna play when they see that But you also want to see it going back the other way which is in our position here So that you can at least arpeggiate that and you can play kind of The root in the third over here pretty easily as well Okay, so the next thing the next way we might play this is you could say and this is a really useful way to play it one of Way I play it a lot is to say well if that's the root then above it you're gonna have the fifth and This also you can also see this is linked to the C shape over here because if this was the C shape right Like this Sometimes we can pick up that G so a lot of people will play that like this Now you can't really convert that to the minor because I can't like reach over here, and it's or it's hard to do but it but what I can do is I can say okay, well if that's The major if I shift this finger down to the minor I end up with this Right instead of this being the major I switch it down to the minor which would be that So it's still connected to you can see how it's kind of connected to that C major shape If you want if that's helpful, but we get that up here then so now we can pick up. This is the root and Then above it is the fifth and then down below you have the third So it's a really kind of heavy on the low string, but it's pretty easy thing to play I can mute the string below it quite easily with the meat of this finger so we can play it that way and So then then we have the E Now you can also play it this way and this way it's kind of inverted So now you've got your E down here and again most of the times when you see the E Most people are gonna say if you're gonna construct something from it They're gonna try to pull the fifth over here, and I do that too right you're gonna pull the fifth which is down here So that's like a power chord But you also kind of want to think well What if I went reverse backwards the other way in this case I can I can build the fifth Which is not directly above it in this case because we're in the kink So it's back one instead of up here when it was directly above it and then we've got the third Which is which is up one from the fifth and and one up So that's a pretty nice shape It's gonna give you a different feel because it's inverted meaning the the root is the highest note In the thing that you are playing when you string it that way So I'm gonna go back up top and just say then of course then you can practice Going back and forth from your E over here And then that's your heavy E right and then follow this in or something And then I would end it on this one is a fun one or pretty easy finger into practice If you're trying to get a E over here And That allows you to kind of stay in this position as well and just use that as your ending spot And then I can follow this finger back and just keep on playing this one which is kind of fun to do Right and then I so I can always just keep on playing that that low E when I'm kind of noodling around if you want that higher Sound you could start to you could target this one. So you could be bringing this one There's my E play this one And that's kind of interesting because you can pull it back from this C, right? And that sets you up for that for that core right there You can also play around on pivoting around this E. So So there's just the root and the third if I pivot the other way There's my there's my E bar chord going to the E minor on the right. So so it's fun to just pivot around that That I'm just pivoting around this. I'm targeting this E and just pivoting around it Going from playing it this way The root and the third and then possibly picking up Down here. So that's another way That we can we can start to noodle around with that. We can then target something other than the root note, of course, so we could say what if I wanted to target the The G so our G's we know are going to be here and here I'll pick up the yellows So that's going to be here's a G That's not a G And here's a G. So if I'm playing over here So there's I'm Andy down a G and then I can go back if I want There's a G There's back to my E There's my E There's a G power chord, which is G and D There's a G And there's ending off on that on that E minor so you can target a B So remember the B is outside of your outside of your pentatonic scale So if you're thinking about this in pentatonic, you can then you can add the B to your pentatonic. You're like, okay There's my pentatonic But I'm gonna add I'm gonna add the B which is right there Back to an E. I'm looking There's my B There's that E down here So I haven't I didn't really target this I haven't been really targeting this E minor shape Down here so you can end it on that So I'm hitting my B's and then going back to that to this shape, which is like my There's my So then you can do that you could you could target like an A, right and Say that's not in my chord, but I can still it's in my scale both pentatonic and major so I can be like There's my A E minor power chord E minor E minor with that inverted E minor here So you can start to go back and forth between those and in open position and and up top So there's gonna be that one and then The next question will typically be well, what if I don't want to play in All the chords and see but but if I was switching from a C to an E And I don't want to be in Phrygian meaning if I'm up here It's like okay, I can see the chord in here But what if I wanted to noodle around it in the notes that are in the key of E minor as I'm Switching to E minor instead of the E minor being surrounded by the key or the notes that are in the key of C Remember that these three notes are gonna be in both the key of C pentatonic major or major shape and in the E minor shape Because because these three notes are in both shapes But if I wanted to play notes around it as I move from chord C to E or whatever That are in E minor shape. That's when the rest of the shape will be different, right? So how can I get to an E? Minor basically shape. Well, we know that this shape is this is the minor side This is the major side So if I looked at that minor side and I just moved to the guitar Where I have that string as the minor I put my pointer there. It would be on the nut, right? It's the open string so I can move this whole shape back and I can and then I can play this whole shape in The open position and then I would be basically converting my mind to now be playing You know in E minor so I can noodle around when I go to the E chord in E minor the other way You might see it as you might say well if this is My Minor side and my major side. I where's my related E is there's an E right there So what if I like move this shape and I started to play it like Like on that E as though that was the top shape, right? You could start to think of it like that like I'm gonna play it from here But I'm gonna play this shape there, right? And I'm gonna go, okay And then I'm gonna play it like this shape down below it I don't even know what I'm playing but I'm gonna say if that was This one's gonna go under it and then this one's gonna go like here But then I run into the kink in the guitar. So I'd have to shift this like up Right and so you so you can kind of start to build it that way in your mind and start to kind of Jigsaw this stuff together, but we'll get more into that later. I just want to point that out for now Let's let me show you that in a little bit more detail just so you can see that So I'm gonna say let's say show the ribbon and We're gonna go down Down here. So I'm gonna unhide between I and AK unhide and then between 129 and 143 right-click and unhide and then I'm gonna look for the relative Major I'm not gonna get into detail on how to do it right now But I'm just gonna tell you it's an 11 or G. So if I look at a G major That gives me the six, which is the minor by the way Yeah, I know that because these are really common the E minor Really common to play in the guitar and its relative major the guitar is friendly to that because of the open Notes on the guitar as well as a major and it's related, you know, I mean sorry a minor and C major does a pretty common guitar Friendly chords or scales. So there is that and then I'm gonna unhide between AS and DE right-click and Unhide Okay, and then I'm gonna go to the right and let's hide from fret 12 on over to to Here right-click and hide And then I'm gonna hide from AT to the minor to the minor right-click and Hide and so we can see now We've got We've got then The E here that we're focused in on mine the right one We've got the E That we're focused on Okay, so I'm gonna then pull all this stuff off And then we have I'm gonna copy this we can see it as playing around Playing around the six of the G major or the relative minor would make it basically the one over here I'm gonna format that format paint that over here So let's do that you can see that either way and then let's I'm going to then Change this whole thing. I'm gonna go do let's remove the formatting First clear the rules clear the rules and then I'll just add Everything first in blue. So I'm just gonna make everything blue to start out with duh, duh, duh Duh, and then here It's gonna be the A is gonna be blue and then the B is gonna be blue and then the C Is gonna be blue and then The D is Gonna be blue. Oh wait a sec. I didn't do it and then the D is gonna be blue and Duh, duh, duh, and then We're gonna say the E. Let's start off with it blue custom blue blue blue and then this one Is gonna be blue F sharp It's gonna be blue Okay, and then I can highlight these ones and I'm gonna make this one the E's are gonna be green and then the G is gonna be red and Then the B is Gonna be yellow and I couldn't figure out why these rules change. I'm gonna copy these rules here Because these rules pulled in from somewhere else. That's what was confusing me Before I'm just gonna count just to make sure I've got my right rules here. Okay, so then So now if I if I say my position in E then is still gonna show here. So there's my E minor same shape That we saw before basically like a bar chord Kind of shape Duh, duh, duh, and we still see like the E fitting over here Here's the shape on the top which is probably like my most common way to Play it over here. So it still fits of course But now the notes around it will be different So if I was just to demonstrate that if we go up top and we hide from here to here Right-click No, that's from here To here Right-click and hide Then we can see here that that up top You know, we still have this shape The E kind of shape that we were playing in this position. That's one way you can play That the E minor up top it still fits of course, but the notes around it are different So you can see this one isn't exactly the same as the bottom one here, right? So we have a different so so when you're kind of noodling around you want to keep in your mind and say, okay What am I doing here? Am I playing am I making the E the root and then am I still playing like I'm in the key of C Which means I'm basically centering around the E, which means that I'm playing a mode of The key of C or am I switching my mind to say now I'm in the key of E minor Which is relative to its major of the G major and and then I'd be playing in E minor in which case the chords Will fit in either one But if I'm noodling around outside of it in the scale around it Then that'll be different depending on on on those two differences. Now if I look at this So so this position is our C position if I look up here then What is that position? Well, it's related to The G major or in other words like if I went over here to where we looked at the G major and We saw that the G major has that shape in it that we could label as a D Type of position. So one way we could label that shape is usually with the relative major shape Right, we don't usually label it by the minor shape But I can say well if I'm looking at an E the the relative major would be a G then the G shape Looks like has that D in it. So we could basically call this shape We could say well, that's the D shape. So remember the D means if I if I'm looking at the D on the guitar We're not talking about the D minor but the D major which has that kind of triangle shape To it. So it would look, you know, like this And so when you move that up you can try to define your pentatonic shapes by that targeting Mechanism in other words, you could say I'm gonna say these three notes is gonna target the pentatonic scale around it And then I'm gonna target around that is gonna be the whole major scale Now remember you can't just use those three notes Just to fit inside the major scale because it'll fit in multiple different major scale positions, but it will be unique to The pentatonic scale. So that's why you could use that as a naming mechanism I would call it Position number three and how does that work? We'll talk about that More later, but if I when we went to this Overview tab remember that we're starting on what I would call position one, which is that fret five position That's the one we're looking at here. And then if I go to position number two This is going to be the connected position number two and then this is going to be the Position number three, which is what I would call that D position now This is all mapped out in the key of C. So you could see that triangle here in the D position I usually kind of recognize things not so much by seeing that triangle shape although I'm getting better at doing that But I kind of see just the pattern of these patterns on on a string by string like these two this grouping right here is One thing that kind of gives things away and you can see these groupings this this the pairs of strings will will kind of Clump together. That's usually what I see first But a lot of people see these shapes first because that's what they Visualize when they're doing the open position and if that's a good targeting method It is for a lot of people then you could use that targeting method Which will help you to kind of visualize where you are on the fretboard Let's unhide here and just get back to what we had before right-click and unhide and Then I'm just going to hide all of the I'm going to scroll back a bit just so we can get ready for next time Prep for the next one right-click hide and then I'm going to go down here and So did it do it right-click and hide and then down here Did it did it do it to here right-click and Hide it's just like when you when you clean up. I had to clean up at the when I worked at the At a at a deli shop or something. I had you got the the night shift has to clean up for the morning shift hide and That's how so you have you can't just leave it a mess You know you have to clean the place and then we're going to right-click and unhide here and Then I'll hide it down to Frut number eight right-click and hide and so next time We'll move on to I think the a-minor is what we're on. Let's zoom in a bit. Do I really need all of these? Yellow squares down here. I feel like I have an excess amount of squares, but that's okay. We'll continue on next time