 Guitar and Excel C major a minor scale fret number seven focusing on the F note What's that? Yeah, I'm doing it Phil. I'm doing the next recording for crying out loud get off my back What's that the squeaky wheel gets the grease? That's an interesting phrase, you know, I grew up with a different phrase Phil It's called the annoying booger gets picked and then flicked against the wall Where it's hung out to dry until it can hang no longer at which point it tumbles to the cold hard concrete Where it lies in despair broken and in agony until the till the dog eats it So stop squeaking your squeaky wheel at me for crying out loud. You annoying booger And just kidding Phil, but not really 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 that scenarios with quick recap of our project Noting that you don't have to have watched all prior presentations to have follow along with this one But a general overview of the overall project can be useful. So let's go back to that first tab We've been mapping out the C major scale and you could think of also related modes We started out doing so in open position open position for us to find as frets zero through three Noting that that E string represents the low or heavy E string the one closest to the ceiling on our worksheet The funnest way to learn open position is typically to create the cords from the scale So we created the cords within the C major scale starting with the one cord C major cord Mapped it out discussed it in detail going then to the four cord because it has also a major cord construction Then we went to the five cord then back to the two cord with a minor cord construction Same with the three cord then to the six cord and finally to that seventh diminished cord Then after having done that we basically through the constructions of the cords have mapped out the entire scale position In open position that looks like this We then wanted to move to the middle of the guitar fret number five Learned this position not by primarily cord constructions to start out with but rather by scales So we might be able to tie then that into the cords that we've created in Position number one and then we'll get into more detail about the cords in that position as we go as well So we've mapped it out in position five and we discussed it in detail And then we focused on particular notes within that position in fret number five So now we're moving to fret number seven and we're doing a similar kind of project We then moved to fret number seven and we're going to learn basically the C major scale and related modes in fret number seven We mapped it out and then we started targeting notes within that position Starting with the C and now we're moving up to targeting the F notes So we're going to be in starting on fret number seven this yellow Square represents the place that we're focused in on this red square represents the prior position That we looked at in the prior section and then over here, of course you have your open position So I know this is quite colorful can be a little bit overwhelming So quick recap of what the colors mean We mapped out on the on the very bottom the blue notes which represent the the Scale positions for the major scale and you can think of the related modes Then we put on top of that the green notes Which are going to be these notes which are basically the pentatonic scale if you're thinking of it as a C major Scale because these pentatonics are usually tied to the major and the minor five out of the seven notes And then we put on top of that the point of focus we're focusing in on the F And then we put the chord constructions for the F So we have the one the three and the five so you could basically think of it as Everything that's not white is something that that is included here It's kind of it's kind of like that the new the new diversity equity and inclusion rules, right? Would you although not anyway? So we have all those so all those are basically included in our scale within those colored notes which are the C major scale and related modes were focused on the four chord Which is the F major chord looking at the one three five of that four chord the F major chord These notes fitting into the C major scale and related modes So we have then the ones going to be the light green the three is going to be the red and then the five is going to be yellow So in that order those are going to be the most important notes that we're going to be targeting this time We're targeting then this green note as the one and the second most important the a Which is the red and then the third most important is going to be the yellow Which is the C and then all other colored notes are basically fair game What do these brackets mean? This is us basically Breaking out the guitar into sections five sections which we can name by shape We can call this section which we worked on in the prior presentations as what I would call Position number one or you can call it a G shaped position We'll talk more about that when we get to the caged system Our major focus this time is on what I would call position number two or the E shaped position And you can see there's some overlap between these two positions So this last position which I can kind of think of starting on fret number five is going up to fret number eight And then this position has some Overlap within these this area if we take a look at that on the guitar We could say okay the last position which most people know pretty well because the pentatonic shape fits in it Which looks like that, but this is the whole major scale Which looks like that if I just look at the top I could see there's going to be Crossover between these two notes so in this position We're looking at this position, which we could see if I just looked at the top string Starts like that and that's going to be our major point of focus Now I'm going to move this one back a little bit just so we can kind of really just see that yellow position because that's going to be our point of focus here and So so now when we're focused in this position, we're kind of concentrating on that F Now there's a couple ways that you can do that You could say well if I'm still thinking of myself in the key of C Then I might be thinking of the C and I'll look at this in an open position because I think it's easier for people to see If I'm thinking of myself in a key of C where this is a C shape position Usually I can start on a C And then end on a C and then I can throw in an F which looks like this an open position And practice my F as something I play while I'm playing in the key of C However, it's easier oftentimes if we're trying to practice my F and How to how to navigate around an F to try to make it the central point So instead of us basically saying I'm going to switch to an F major scale We're just going to say I'm going to keep being in the C major scale But make the F the focal point which basically means we're going to be playing in a mode a Lydian mode But I and we'll talk about modes more later in a future present section But for now, I just think I'm playing around the four chord, right? That's going to be the idea So we're playing around the fourth So I'm going to make it the starting point and then when I move to something else like a C a G and then I'm going to go back To to the F to try to make it the tonic now It can be a little tricky to make the F the tonic the four chord the tonic One thing you might try to do is is say what's the best note to lead back to that F What's the fifth of that note is the way you would question that typically and you can see right here The fifth is the C the C is the thing It leads back so in other words if C was my tonic the G the fifth of the C leads back To the C The fifth here is the C leads into the F and you can give a little bit more emphasis to by saying If we take this C chord we can add then the dominant 7 which is right here. So there's the dominant 7 It's outside of our chords So we learn the rules and we learn when we could break them We'll talk about why that might be useful to do possibly in future presentations, but it gives a A Little bit more resolution one reason that is is because it basically is a half step away So it's actually resolving back a half step and then this note is in the C shape And when I resolve up then it gives you those half steps those half steps usually giving you that Resolving that type of feeling if I played that up here What you would do is take this C shape and then pick pick up your pinky So we talked about the C shape last time And pick up your pinky and you're revealing then this note if you're playing a C a C this is an an an E major shaped C chord and Then I pick up my pinky and then you can resolve that then To what we'll see here, which is going to be the F Okay, so note when we do this worth we're basically in another mode So I'm going to show you the other mode just so we can take a look at it Although we'll think about ourselves as just playing around the four so I'm going to hide some of our cells in our worksheet and So here we're all the way over here on Lydian. I'm going to right-click on that and then hide all of that stuff So so you can see basically The Lydian if we can if we just converted everything Then the Lydian We would be playing making it the one everything's the same in the Lydian Lydian is the related mode where we basically make the four the one So so by learning all the shapes in the C scale. We're learning all the related modes However, it's still a little difficult to wrap your mind around around The other modes we'll talk about that later So right now we're just going to think of it as though we're playing around this This f or the fourth of a c major and trying to make it the tonic now Here's our position up top So note that the first thing you might do just to get your ear around and thinking of yourself as making the f the tonic Is play the scale But play it from from here to here from the f so i'm going to start on the f instead of playing the scale up here Right because then it sounds like i'm trying to play something with a b as the root Or instead of starting here Where i basically sounds like i'm making the c the root i'm going to start here where that's where i'm trying to make the Root so there's my f right there And then i can count it out if i want which can be a little tricky to count it starting at a four But i'm going to start at four and get back to four right there's only eight note or seven notes So i'll finger it first so i'm going to say this is going to be four Five and then we're going back here six seven eight or one So and then two three four so i'm ending here Right there and that's the octave so this is going to be four four four four four four four Right so all i did here is i started here at the four and i just counted up all the colored notes in our position going from Four then five i'm calling that six And then seven and then eight or one because i'm going back around the horn One and then two and then three and then four and you can do that same thing here starting at the four and then five and then the six seven eight or one And then two and then i'm going to go back two one or eight seven six five Back to the four Okay, so so like if you were just to get that in your head that kind of Tone you can also do the same thing Making it the one and then you would be in a lydian, right? But but i think this is actually good practice to lead into the lydian, but we'll talk more about that later so four five six seven eight or one two three four And then four five six seven eight or one two and then i'm going to go back to One or eight seven six five four And then we can also add Then the chord constructions as we start to look at this so now i can see f here and f here What f chords can i play within this section? Well the major thing that we can see in here i've mapped out with the yellow And you can see that looks like an a shape which most people kind of see That just these three notes And that's the same as this a shape up top We haven't really talked about as much because it's not in the c major But i'm you're probably familiar with that shape if i borrowed it off and move it up here And there's our a shape so i have to grab that one to get the full shape But really the main thing is this the thing we're lacking oftentimes in this shape is that three chord That a that's that's down here. So this is we can play it this way If i'm just playing it this way I can play it like that I can also see up top That we have when you use this orange one that's c up top So I could grab it this way. I have another a back here and I could grab it then Uh this way So, uh, that's useful that's a useful one as well and then Another one that people I don't think grab as often as if if you're in this bottom part You can see your a shape is like that You have this right there Which you can grab this way I can pick up this one and then these two Uh up top boom boom boom So those are going to be the major shapes that I can kind of always Return to so if you play it in a scale You don't even have to count it off But every time you get to an f you might then play a chord with it so I can start here So we have the full chord and then I'm going to start four five six seven eight or one two three four And then I'm going to play these three we're just going to play it this way those three and then four five six seven eight or one two Then I'm going to go back to one or eight seven six five four this time. I'll play it this way So now I'm playing doot doot doot And then I'm going to go four three two one or eight seven six five four Back to play my full chord like this and then you could go down the other way So four three two Uh one or eight seven and I'm going back up seven eight or one two three four All right, so so you could go through it a few times just to basically get that scale but try to Put your focal point on the f's which are going to be Those f notes Okay, so so once we have that the couple strategies we can use to practice with this Is we could be playing something in our open positions where we learn the chords and then jump all the way up here To kind of noodle around and see if we can go back and forth That's one practice that we can have with it. We can also try to play just in Our position up top possibly going back and forth in this case We've learned the c and the f so we can make either of those try to make them The tonic and go back and forth between those two And then of course we can try to blend together the shapes that we have learned So we've learned the shape starting in position five We can try to play some chords in here and blend back and forth between these two Or going all the way from our open position and trying to find lines That we can go up to to get to our our positions up here and back to have a smooth run all the way through Noting the general idea is that you can play Anything in any position so I should be able to play any chords I want within a four fret fingering But it's nice to be able to change the fingering going back and forth because that will give you different voicings Of of the chords So let's start off like it with that first one You might start back here and say okay if i'm going to be starting back here I can basically target then A note up top and it might actually let's start up here first and just start Trying to learn What types of things I can play around this f note and and so One way we might do that is just to start putting our finger on that f note and say what can I kind of noodle around With that f note. What can I reach so I can say right I have here I have this available to me. Let's make another one I can go up to here to do so that's always good But that's not one of my main notes. It's a green what I like is that yellow note. That's my fifth. That's my power chord And then obviously all of those notes going down to here Is my actual chord. So that's always useful for me to be able to go back from if I'm just on this note And Then I could reach out here, which is which is a bit of a stretch And that's why but it's a little bit easier up here in the higher registers. That's outside of our shape But it's reachable with your pinky That a and that a although I didn't color it properly here is the third. So that's a useful one to pick up So right if you switch off between this a and the c you're picking up the the one The the the third and the fifth Alternating so that's nice. We can reach the one above it as well So you can you can you can reach that So power chord full chord I Can I could double stop those two So that's a useful position, of course And then I can also say well that the other third is down here So a useful way to to navigate this position would say well, what if I put my pivot finger here And then what can I reach I can always reach back up to my To the root. So that's my root So now I've got the one And the three which is the which is the basses the major two chord notes of the chord and then I could pick up my five With my pinky finger. So now I'm alternating with my pinky from here So I'm doing that same kind of shuffle thing where I'm going from The one to three the one to the five Right, so that's kind of nice and then I can also play anything within this position Noting I have another f down here. So I can reach, you know, this box From this area and I could probably go easily shift up and down from here to the d So I can so I can start here. So I get the ring of that f note and then I Double stops then once I go up here, I have these three strings which are basically that a so it's kind of an ending point I can easily reach this one up top too, which means I have all of my note. That's the full chord So I can be from here And then close it out with the full chord up top I've also been experimenting with my putting my finger like on these two And then and then this and then this finger up top because that allows you to do a little bar right there And that allows you to Easily go back and forth between those two strings And go up with your pinky To that fifth. It lets you resolve. It's a little bit Unusual of or it's a little bit Hard to get your finger to do, you know, it seems a little awkward at first But I find that to be somewhat useful and then you could do the same thing Basically down here and say, okay, if I'm on this is an f. This is an f So if that's my home, that's right around this shape So every time I come back to that f I can kind of play that shape there And so I can say, all right, what can I I noodle from in that shape? It's probably easiest Uh to start that shape with your With your um with this finger ring finger. So the easiest thing is to go back to here But it's easy to go back up here to So and then once I land on that note, I always feel like Those three That's like my a like my a shaped f major chord and of course go back from here To you know these notes and back into our System here All right, so you can kind of noodle around uh within and say what can you feel around that note and then We could say okay now that I if I target this note right there and I play something in open position Here's here's my f in open position right here, which you can play the full bar chord. That's what these red notes are You can play it like that Or you can play it like that For me the more comfortable way to play it And then if I was to move the shape up into the middle shape This is the shape we get which you can see as a d-shaped c Uh a d-shaped f you can see it here But or you can just see this triangle and then that converts into this shape So we'll talk about that more in a second, but right now let's just say we're going to go from an open Position and then i'm targeting basically this f right And And then once you get some simple ideas with the f you could throw a c in there since that's the other chord We've played thus far going from an f to a c And you could jump up to the same position and noodle around into c But i'll just noodle around with the c in the same spot so I could start with an f C So I'm just kind of so that's one way we could also target then This one same kind of idea going back and forth and say now i'm going to target this f so we have that f and then Which gives me that kind of a position so so I can be here try to see what i'm going to play So I can say And you can kind of noodle around that's one way we could noodle around with it We can also say, okay, can I convert and move from the position five That we looked at last time to position six so position five is in here most people see it as like The pentatonic position starting on a But we're thinking of it here if we're thinking of it in the key of f again So if I was looking at the at at the key of f which is here Then the chord construction leaning back Would be looking like this right so if I could say okay This which is basically a c shape the c shape is like this we'll talk about the cage system later But you can see that c shape here Which doesn't isn't exactly correct because we can't pick up The fifth this way, but you still get a good sound you're going to mute this string And I can play it this way And then if I want to pick up the fifth I got to play it this way And then I can actually pick this one up so i'm leaning back To these to this here and then I pick I could pick up this f as well I wanted to grab that You can also play it this way which people often see as a d shape and it is When you it's an a d shaped f Major chord because you're leaning back to that if you lean back to that d But if I look at it leaning forward, it's actually also part of the c shape. So I have this d triangle Which is an f shape And then I can say this This is my pivot point there Which leads into this c shape and there's my pivot point there Which I can then convert into this shape So what i'm targeting is this note When i'm going from this shape over once I get to that note I can jump over to this shape and another way we can see Is this top shape becomes useful to Where I have this This these three So if I can get into that shape then again that pivots over To where I want to be in this shape So if I was playing something over here, I might start from here and say how can I move from basically this d shaped f chord And then kind of end up on this F note up there and and I'm going to noodle around in between In this shape so I could do something like All right, there's that and then that's basically another a Minor, but I'm not really thinking about chords. I'm just saying that fits That's my starting point because it's an f and then I'm gonna like maybe something like that and I'll walk my way up There's a that's an a minor chord, but I'm just kind of messing with And that's actually a d minor, but I'm just I'm not really thinking about it and then I can Pull that up like that. Maybe and now I'm pivoting over to my f this way. So I just went I'm just walking up And now I'm playing the three note combo here and then I'm just going to take those two This is another way you can play basically that c-shaped f major chord which I can then pivot into This shape or if I don't want to do those three note combos. I could just say one note at a time sliding up to right there And then I could play that with my c shape Or I can convert it To the to this shape now. I'm in this position if I'm going back the other way I could start here and say how can I start from this shape? Where I have this and this and then get back to that d shape. Well, I can go okay My easiest finger to move is this one I could just go And I'm just walking down right now if you want something different than just walking down That's when you do the little double stops or something and I'm just gonna notice those three are in there double stop double stop and then Moving that up and that brings me back to this shape going back the other way Double stop And back to back to this shape right we could do the same thing and say how can I walk from there? up to here Or uh, or right I can You know, I could I'm just trying to find ways to walk up and back I could do that same concept from my open position and try to find lines So now I'm over here in my f shape and I'm gonna say okay. I didn't talk much about this shape I know that g shape fits within here We'll talk about this shape later But I can see going through that midsection What what can I do to find a line that's just going to go all the way All the way out. So maybe I start here. I know my starting point and then I'm going to somehow get up to This shape. So maybe I play something like down here in this shape And then I get up Right and then I get up to this f shape and then I'm going to walk it back up To here right so I can say okay if I'm in here I'm going to pivot on this finger now It's an easy finger to pivot on and I know if I bring that up this little box I know it's fair game. So I can be like, all right Brings me to this box. So and then I can go and all right That's fair game and then I and then I have the same puzzle we got before which is To walk it back up here, right I could do the same thing going back Now I've gotten to this shape and then I'm going to say, okay, I know this little I could double stop those or something I know the open notes are cool to play And then back to that position so I can find little lines Uh going going up and back I can lead with these two fingers maybe And say maybe I'll try to say Let's take these two fingers and see if I can move it up You know somehow to this position, right? So now I'm going to go instead of pivoting on this finger. I'll pivot on these two Double stop double stop double stop. Maybe I lay this finger down triple A minor E minor, but you don't have to think about the chords. I'm just thinking that fits in my scale And then back to here again, right? So so I'm just I'm just looking for lines to take me all the way From here back to here and and see see, you know, what we can target Going from going from One to the other And so that's the those are the general ideas of it Just so and we'll we'll look at that more in terms of uh Of modes same idea in a later presentation, but notice that if you're looking at the C major scale, you can see that if you just Make a central point These other modes the central points or play around the four Then you actually have a whole lot of things that you can kind of Play with and get to know these chords And once you get to know the four chord as it's related to a C You can it'll be way easier to then do the same idea and switch your mind to be playing in say an f F major so just to get an idea of that. Let me see if I can copy I'm going to go back on over to our prior worksheet And say this is the og Worksheet and and I'm going to change it to an f Which is a nine and pretend now that that is the one So now we're going to say that that if that was the one Then I'll copy my table To copy it just from right here Go to do to do it. I'm going to copy just that bit and go over here and paste it Paste it one two three and then paste the formula or the formatting the formatting to and then Okay, so then and just let's map this out as though we were in The key of f just so you can get the related idea of it What if we were in an f major scale instead of playing the four of a C major scale? So if I map this out we'd go let's make this to do I'm going to return my show always And then conditional formatting. So we'll say this is equal to This I know this is a little tedious So bear with me. I'm just going to say this is Dead And then I'm going to say this is all of the major scale of an f Now here's the dude And then we'll say formatting Dead And then dude And this is going to be an a I have found a way to do this with formulas one time, but it's actually still More difficult takes about a same amount of time As doing this tedious process. So But I did Look it up. I still think they Excel could improve this particular feature To make it a little bit faster I don't like the way their formulas work because they make assumptions which they probably have a reason for doing it, but it's Still Frustrated. I don't know what it is. I don't know what it is. I'll tell you that And it was And then I'll say that this is going to be equal to the one which is now we'll make that green and then This will be equal to The three which will make red and The five which will make yellow Yellow okay, and so if I was looking at we started Here and compare This I think I'm missing the e somehow What happened to the e? Let's do it again. Where's my e? Let's say Okay I think that might be more right. All right, let's compare This shape to what we saw up top when we were looking At this is this is that the one we were looking at? There's too much stuff going on. This it's chaos. It's complete chaos Let's hide Order needs to be restored to the city Anarchy it's anarchy out there Okay So now we could see that if I look at this same shape you could see this The same shape fits in it. Here's our a shape, but it's not the same structure Because now we're looking at an f major chord So this I want to get try to just introduce this idea because again I think a lot of people just kind of randomly learn Different chords and whatnot and then they have a real hard time Stringing them together or thinking about what patterns will fit together So so we'll talk we'll go to the major chord later We're spending all our time on the c right now because that's the easiest one to understand But if you learn that and all the related modes You have a lot to work with and you can still learn again all the chords In relation to the c major scale and then you'll have that Hopefully more grouped up idea of how everything fits together so that when we can then do the same thing with other Uh scales And go to like, you know the f probably g would be the next Best scale and then we could see we could see for a guitar at least and then we could see all it and all of its You know related modes and related Uh chord shapes in a way that you can actually put the things together You know, you're not just learning these pieces that you don't know exactly how they Fit together. That's the general idea. So we'll talk more about Different scales hopefully uh in different in future presentations, but we're doing the deep dive Into the major for now and we'll actually talk about the modes More in detail later so we get a grip on them