Guitar Theory with Practice Tools – F Major Chord Analysis in Open Position – C Major Scale

1. Introduction: Guitar Theory with practice tools, F major chord analysis, and open position. C major scale is a project based course providing a very flexible worksheet that can be used to follow along with the presentations and then can be used as your own resources. After you follow along with the presentations, we're going to be focusing in on the construction of the major chord in open position. We're looking at as it relates to the C major scale. So we'll go over the fingering of the major chord, we'll look at the major chord as it relates to the C major scale, as well as the C major pentatonic scale. And then we'll talk in detail about the intervals of each of the notes in the major chord. 2. Open Chords C Major Scale – F Major Chord Fingering: Guitar and Excel Open Chords, C major scale, F major chord fingering. Get ready because it's time for our guitar skills to excel. 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. However, you don't necessarily need this workbook if looking at this from a music theory standpoint. Because we will simply use it as a tool to map out the fretboard, give us the related scales and chords that we're focused in on. If you do have access to this workbook though, there's currently four tabs down below, two example tabs and OG tab and a blank tab. The OG tab representing the original worksheet we put together in a prior section. It now acting as our starting point, showing the entire fret board, giving us the full musical alphabet, mapping out the scale that we're working in on, and giving us our worksheets to the right in multiple formats. We then copied this over to focus in on, in this case, the C major scale in the open position. And then further focus in on the chords in the C major scale represented by the example tabs. We started out with the key of C, minimizing the fret board to just see the frets zero to three open positions. And then we minimized so that we can see the worksheet on the right hand side giving us the scale as well as the chords that were focused in on when we were looking at the one chord. Now we're going to move to the four chord and do a similar process. Last time we copied over the OG tab to the blank tab. Did the similar thing, meaning we minimize the fret board to look at just the frets one through three. We're still in the key of C now as we focused in on the, that is now the four of the key OfC. We're going to look at the fingering, but there's a couple things we just got to keep in mind as we're playing these chords. So in this case, we constructed the key of from the C major scale. But when we start to talk about what's included in an chord, we're going to say it's going to be relative to the major scale. So in other words, when we constructed this four chord, what we did is start with the here and pick every other notes. We have the skipped A note, we've got the A skipped A note, we've got the C. We constructed it from this scale, which is a major scale. But notice when I talk about the positions, I'm not going to say it's a four of the C major scale. Generally you could, and you could start to see it that way, but you're usually not going to say it's it's the 6.1 You could map it out that way and try to think of it that way to understand it. But what you're really going to usually say, it's going to be the 135. It's the 135 of the C, it's the 135 of its related scale. If we had an F major scale. To take a look at that real quick, let me show you that. We're going to go to the OG tab over here, and let's just change this worksheet to an F is absolute position number nine. So I'll just put a nine here and then we'll see our worksheet over here. And it's now mapped out in the key of now is the one chord where if I construct it from the one chord, you get the C that same. And C is what we built over here. We just built it from the C major. It happens to be also in the C major, but when we talk about it, we're going to be talking about it in terms of it being referenced to the relative reference of its major, and that's why we have the F and C as the 135. Also note that I didn't go down 1-2 because when we go to two, we're going to get to a minor. And I'd like to first take a look at the 145, because those are going to be the major positions. And it's useful to keep in your mind when you're kind of noodling around to play the majors together. In the 145, a lot of blues stuff is played in like a 145. And it also will have relative positions that you'll kind of recognize because you'll be playing the same, same relative positions when you look at the intervals 1-3 and five. So you'll recognize the shapes a little bit more easily on the guitar. Okay, so now we have the 135 of the. It's mapped out over here and just like we saw with the C, we can just grab any of these three items and we would be playing an F. Now there's one more thing we've got to put out there with the in particular. And that is that you can think about this as the open position in a sense. In another sense, you can think about the fact that doesn't actually have a true open position. In other words, I can think about this as my open position because I'm playing the F. This is how you would play the when you're in the frets of one through three. So if I'm switching from an open C to an open within these frets, I have these opportunities to do that. In that sense, it's an open position. However, in another sense, there is no open position. And the reason is because when I play this position, I don't, I don't have to have any of the notes over here in order to play it. Usually, with a lot of the open positions, the root note is actually one of the open notes. Not always, but that's often the case. And there is no over here in our open notes. Now, you might say, well, yeah, we just did the C though, and there's no C in the open notes either. And the C is certainly an open position that we looked at last time, and that's true. And on the C, if I go over to the C just to take a look at that, when we made the C position, it looks like this. The reason it's an open position is because when you play it this way, you have to have that open in order to make it work. Otherwise you would be missing the fifth, the C, although the C is not the open note, still an open position, because one of the three notes that are required, this, when you're playing a normal, is an open note, right? Technically, that would be an open position over here. When I play this shape then, which is the normal shape, you could open this up and play that a. But normally, if you play this shape, there is no open string that you need in order for it to work. It's also important to note that this is a bar shape. This is a classic type of bar shape. You can think of it as an open in one sense, but you also want to think of it as like an augmentation of this an looks like this. When you move that position up, you could see that shape that I'm fingering right here. You could see that same shape right here. I've just moved it up from here to here. And the reason that's important to note is because we're actually, when we play this open position, we're actually playing an E shape that has been moved up to basically a bar. And you want to keep that in mind, because when we start to talk about the cage system, when we start to talk about moving these shapes up, you're typically going to want to think about this as an E kind of shape that got moved up into a bar position. But you can also still think of it as an open position because this is how you would play the generally when you're in these one through three places when you're trying to switch from an open to an open. Okay. That said, then there's a couple different ways that we can play this. Now the most difficult way to play this is the full bar cord. So this is a classic bar cord where we're taking an E shaped bar chord that looks like this. And instead of having the nut right there, taking care of the barred strings, that's why the E isn't, we're going to move it up to here. But then I have to borrow this off. See how that worked? Now, I had to switch my fingers from here. I go up to here, but I have to borrow this off to fix it. So I got to switch these fingers to that and then borrow this off. Now, that's a fairly difficult thing to master, so you can practice that. If you can't master that, that's okay. There's other ways to play this shape as well, but you kind of want to see that as the full shape right there, because you're playing all six strings. This is a classic or major bard shape. Just a couple of techniques on the bar cords. I could talk about more of this later, but sometimes people are too low on the bar cord like this. And I find that if you put your finger as high as you need to, if the meat of your finger is hanging over, that's fine. You might have to move your finger up, making it easier to ring out all the strings. You want to keep this as close to the fret as possible. It'll be easier to play that way on that, and then you can try to ring those out. If you get the first 1234 to ring out and you can't get these last bits to ring out, you're still okay because you got to get to that A. And the A' is pretty easy to get to ring out because you're fingering the A. So if you get everything to ring out just to the first four strings, you're at least playing a full, even if you don't get those last two strings ring out. So that's the main shape. Now also just note that this is a difficult bar chord because it's on the end. Like if you play that bar chord up here, sometimes it's easier because you're not, the frets aren't as spaced out, so if you don't have as big a hands, then it might be more difficult to play it here. But when people learn that bard, they're often quite proud, justifiably so, because it's a difficult thing. And then if you play the F like a different way or something like this or this, sometimes people look down on you, they're like, ah, that's because they can't grab the full bar chord. But just note that that's not generally always the case that the full bar cord is the best way to go all the time because you don't have as much flexibility with the full bar coords. Sometimes you can't do its hammer ons as easy with your pinky. You have to be, have pretty strong hands to do a hammer on and doing that kind of thing. Whereas if you grab it like this, you have a lot more flexibility. You're still using your pinky, but this is a lot easier to do than this. You have no leverage to do a hammer on like this, whereas you do like this. So, so don't feel I use this position a lot. And even though I can do the barchord, because I find it more flexible. So don't let people discourage you like, well, you're doing the cheater way of doing this. Well, no, it's a very useful way to do it, right? Even if you can't do the bar cord, it's still useful doing that. All right? So that's the other way that we can look at it. We can look at it like this. And then if you analyze that, you could say, well what if I pick this finger up and I put it down here? Now I'm just borrowing off that one string and I'm abandoning this top string. So that means I don't want it to wring out. Then I'm going to mute it with my thumb. I typically use my thumb to mute it. You can also mute it with this finger, and now you've just got these strings. So I'm going to say copy and paste. Now, you would just be doing this bit right there, fingering that. And then you'd be muting the E. And muting this string down here, that's still a D, it's still pretty heavy cord. Even though you don't have all five strings ringing out, you still have a good amount of the strings ringing out. Now the other way you can play it is this way, just grabbing these three and this one. Notice what you have here is the F is the lowest note. That's the advantage when you play the full barord. The advantage of the full barcords, you get that heavy on top, which really lays the base foundation of it. If you do it this way, to get the, as the lowest note, you have to do it like this. Then you can mute this with the meat of your finger here. Or you could try to reach it with your thumb. I tend to like to do stuff with my thumb. If you're doing classical stuff, you probably want your thumb back here. In which case you don't want to hit this string up top. And then you can mute this string with the flat of your finger. And if you're doing picking stuff with your finger stuff, it's probably not as much of a problem. But I tend to like to just, in the evenings, just kind of scrum away. So that means I'm going to try to mute whatever I don't want to ring out. So I use my thumb oftentimes just reaching over the top like that. So that's another way you can play it. Now, we learned last time that right above the root note is the fifth. And that's why you can pick this one up, right? If you play it like this, it's very common to play like this. What that means is, it's nice. It's still an F, but now the top note is a C instead of an. That's okay. You're still playing an because you're still playing an F, A, and C, but the top note is a C. Now the reason this is useful is because I really like this shape because it fits your hand quite nicely, just like the C does. It just fits easy shape on the hand. Then it's also very easily movable. You're playing something that can move and you're not showing any of the open strings. I find that to be really movable and it's flexible because you can lift up your fingers more easily than lifting up your fingers like this. You can do it this way too, but it's more easy to do that. Those are going to be the normal fingerings that you will see on this. You can also do the fingering down here. If you were playing the down here, you'd have these two strings and this one, that could be a good fingering when you're playing on top of something else where you don't want it to be really heavy. Like if this is a really heavy, you're playing that with something else, then you're going to drown out whatever else you're playing. But if you're playing on top of something else and you want to play something that adds that doesn't completely drown out. And you can play something down here now, just like what we saw before with the key of C, if we're thinking about this as the four of the key of C, then all of the open notes are still good. Tricky thing about that is that you would generally, if you're in the key of C, you'd be playing like a C, right? Which would be here. And then switching to an F. I'm going to use this shape because I think it's the easiest one to start out with, but you could do it this way. See how that switch is a little bit more difficult, but you could do it because you get that heavy one. If you're going from this to this F or this to this, that's an easy switch to make. It's very nice on the fingering. Then of course, if we're in the key of C, then all of the notes will still work. Meaning if I'm playing this, I can lift up a finger and reveal the open note. So I can say, okay, what if I'm playing the like this and I lift up that pink? Well, if I lift up the pinky, I still have the down here. I'm still really playing like an but I'm revealing the D and the D is kind of tension because that's the 13. If we're playing the 13 right there, if we're playing in the key of C, we'll talk about that later. But if you're playing in the key of C, it should still be something you can do. It won't be out of touch totally. And then you could do it here, and you can say, well, what if I pick up this A? I pick up my finger, well then you revealed a G, which is like the nine, when we're thinking of it as the four of the key of C. Right? And then I can say, well, what if I picked up this? Then you're going to be revealing the B, which is like a seven, if we're thinking of it in terms of the four of the key of C, you can start to play, but normally you'd want to be going from the C because the C is your center still, if I'm thinking about playing the key of C. And then you can noodle around there and then go here, back to the C. I'm just lifting up fingers back, just testing out what it sounds like if I lift up fingers and I pegated and whatnot and have a different strumming styles as I go from the C to the F. And then of course, when you're using a C, you could do a different C. You can do it like this. Notice another way you can play the F is just these three notes I could go from here, right? And you could try different, basically, strumming patterns there. Now now note that if you're just playing the key of, but you're thinking about it as though you're in the key of C, right then. Like you're just playing the key of F, but you're not really going to a C. You're just doing this, but then you're revealing notes that are in the key of C. What you're doing there, you're basically playing a different mode. So in other words, this is easier, I think, to look in terms of the circle. So here's our notes in the key of C, in the format of a circle, the 123,456.7 And usually we're focused around the C if we're playing the major scale in the key of C major, but if we keep going back to an, we're just basically playing an F and then noodling around in the nodes that are all in the key of C. You're basically playing a different mode, so it's pretty easy to do. You can do that, it's a fun thing to do. But you want to keep in mind when you're practicing that, that you're basically playing the As the four chord over, you know, the key of C. And if you're not going back to the key of C as the tonic, then you're basically kind of playing in a Lydian mode. So let's take a look at the modes on the right. The modes are mapped out on the, on the right, including the related minor, which is an A. Then we've got the Dorian, then we've got the Phrygian, and then we've got the Lydian. You can think of the Lydian now, which now has the as the one is basically related, this Lydian mode. This Lydian is related to the C major. Now you can think of it as the one, but all the notes in this scale are the same notes as the key of C. It's useful to practice that way. You can practice that. But when you do that, when you start playing around like And I'm just playing the key of, and I'm lifting up fingers. I have to be mindful that the reason all of these strings can fit the way I'm thinking about it right now at least, is because I'm playing this chord in relation to the key of C as the four note in the key of C. That's useful to keep in mind. Now you could say, well what if I want to switch to the key of? You could do that, and we'll talk about maybe looking at the key of later. But for right now, I just want to note that this shape is movable. So we looked last time in the key of C. If I went over here, that we can move this shape up to the 145. So if you were playing the key of C, and we'll talk more about this kind of stuff later, but just note that this shape just something to play with when we were playing the key of C, I could move up here to the 4.5 So if I moved it up right there, now I'm playing the same shape, but now I'm playing an actual chord. And then I can move it up here and I can say, okay, now I'm playing a with the C shape. And that's a fun thing to just be able to play, to move up. And you could start to play with that using these same shapes. Now you could do that in the key when you're looking at an F chord. But you can move that shape up to A in order to pick up the G. Or you can try to augment your mind to thinking about it as the key of, which is kind of easier to do because then you can think of it as the 145. So let's try to map that out just to kind of wrap our minds around that here. So I'm going to Unhide from D to K. Right click and Unhide, I'm going to go down to the bottom where we have some worksheets that have not been populated yet. And then I'm going to go to the right. That looks good. Now we can go down here and say I also need to unhide from one oh one to 117. Actually, let's keep it here. And then it'll hide some of the fret board. I'll hide from the 12th. We'll just go out some more frets to start off with. So I'll go from the 12th over to my worksheet. Right click and hide There we have it. I'm going to do the same thing to start out with. I'm going to select the entire worksheet. I'm going to scroll out a little bit, and I'm going to map out the same thing we did before. I'll highlight the whole worksheet. I'm looking at the key of F. Let's copy this down here first. I'm going to copy that, so I can see where I'm looking at. I'm looking at that four. And then I'll map this out like we did before, selecting this area. And then conditional formatting, this is going to be equal to an which I'm going to make green and then, okay. And then conditional formatting equal to an a, which will be red and then equal to C, which I'm going to make yellow. Then I'll map that over here by saying that the format paint is the one and then the format paint is the three, and then the format paint is the five. There we have it. You could see this shape up top. There's going to be starting shape. Now if I move that up to a, let's map out which is right next to it, right here. And let's highlight the whole thing and just make that a different color. I'm going to insert or not insert Home Tab format paint and say that this is going to be equal to, let's say a blue. Let's say that the is this. Let's actually do it on another worksheet. Let's do it down here. This will be easier to see. I'll paste it down here. We'll look at the next one, which will be the G. Then I'll, I'll map that out. Let's map that out. And so we'll go home. Tab format painter. It's going to be equal to the one of the fifth, which I'll make that green. And then I'm going to say format painter of the B. We'll make that red format painter equal to the D, we'll make that yellow and okay, now I can see in this position right here. There's my shape as well. Same shape. I can see it right here when I play the F. Because the next is a major as well. Then what I want to do is follow the root note here. I'm looking at this and I'm trying to find where the is on that string. It's right there. Then I can move this shape up because this shape will be symmetrical around it. If you're playing in the key of another way that you can play A, then I can say, okay, this is the four and the key of C. Which is that I can move it right there. Now you can noodle around. Now, another way you can play A is like this. But it's useful to play it two ways, right? I can play it like this or I can play it like this. And I can move up any of those, any way I want to play it. I can play the like this. I can move that up to the position, this position. I can construct it down and make it like that, which is the easier thing to start moving. Or I can play it like that and where I can play it like that, same options we had before. Then move this back down to the F. So if you're noodling around, you can go from the C to A to che this way. Or I could play just these three. And so we, we can noodle that around. Now the next one is the one. Let's look at this one. I'm going to copy this and put that up top and say now we're looking at the one looking at the C. If I say, okay, let's map that out and say this is going to be equal to the green. Then I'm going to say, okay, and this is going to be equal to the E, which is that. Then I'm going to say this is going to be equal to the, which will make yellow. That's not yellow. Then I'll map this out like this, we'll say there's the green. There's the, I should have done that up here too. Maybe the B and then the D. I could say, okay, well if I'm looking at this string that had the on it, that string is what I'm mapping the shape around when I look at it up here. If I'm moving that up, where's the C on that string? Well, it's up here. So I'm going to say, okay, if I scroll down, the C is up there, so I should be able to move the shape up to here. This is another way that we can play the C, right? So I can move it all the way up to that eight position. And I should be able to play it that way. So if I was playing my F, I can move it up here to play the G, and then I can move it all the way up to the ten. I get another voicing up top, which is nice. And of course, you can move any of those shapes because this is basically a bar chord. You could move it up here like this. You could move it up here like this. You could play just these three strings. And it's nice to be able to play this because then you can start to noodle around, right? And I could do that. Same, I can noodle around within that shape. I added another note, which we'll talk about next time, panatonic shape. If you're playing in the key of C and you're looking at that four, you can play it from here. You can move it up here where you're playing the related mode and using as, like the root in the modes here. And then you can move to here and start noodling around that way. Now one more thing, just to note that if you wanted to just look at these movable shapes and you saw it in terms of being in the key. Let's copy this down. I'll copy this down. We're running out of space. I'm going to unhide some cells. Right click and unhide and then I'm going to just copy. I'm going to copy from here down to here. Copy and I'll paste that underneath. I'm just going to change this then to the key of, we'll say I have my scale over here. I need to unhide again. I got to unhide between L and K. Right click and E. I'm going to scroll out a bit so I can see what's going on here, what is happening. That four key, I'm going to change to an. So now I'm just going to change it completely to an which is a nine. Now I'm in the key of, now we've got our worksheet in the key of, That's going to be our one note now. So now I'm going to hide everything again. So I'm going to go on over and I'll hide from 12 on over to here, and right click and hide. Then let's look at this worksheet. I'm going to remove the conditional formatting that started by going and remove clear the rules. Clear the rules. I've had it up to here with your rules no more. I say, okay, how come I can't clear that one? I need to clear the conditional formatting this way, okay? So now we can imagine moving this up. If you were playing in the key of F, just to play the 145, which sometimes is pretty easy to kind of think about. You just want to convert your mind to saying, now I'm playing in the key of F and I'm going to move this up according to the 15 with it as the root versus me playing in the key of the, being the four note in there. Right now, I'm going to say, let's this out. Let's try to do this piece by piece. The we saw starts from here to here. I'll map that out. And I'll say this is going to be equal to this note as the green one. And then this is going to be equal to this note as the red one. And then this is going to be equal to, equal to this as the yellow one. Boom, Boom, boom. There we have it. And I'll format paint that over here. And then the A, and then the C. That would be position one. If you're playing in the key of, say there's that really, you're playing right here, then I'm going to copy that and say, okay, I can do the 145, I can say the four is over here. That's going to be on A sharp or the B flat, so you'd think, okay, right there, I should have another position that I can kind of move up to. Don't let the sharps and flats scare you too much because they're just other notes. If you numbered them, it's a two, just then I can see. And that's why the key of C is nice because you don't have the sharps and flats that are a little intimidating. But if I moved it up here, I can say this is going to be equal to then this one as the green one. And when I move it up there, it's the one relative to this chord. Then I'm going to say this is going to be equal to, then the D is going to be red. And then this will be equal to the, which is going to be yellow and Okay. And then I'll format paint this over here. I seem to be missing something. Hold on, I did it the wrong way. Let me do I need to that's the end point. So it needs to be going facing this way. All right. Let's do that again. Pardon me. This is going to be equal to this, which will be the green. And this will be equal to this, which will be the red. And then this will be equal to this, which will be the yellow. And boom, now you've got the green. Let's make that here. And this one, let's make that here. And then this one to be, let's that here. Okay? And then I can try to do this one more time and say, okay, the next one is here on the 145 relative positions. And I can say, here's the key of C right there. And I can say, let's highlight this then and say, conditional formatting equal if it's a C. Now that's going to be the green then equal to if it's the E, it's going to be red. If it's equal to the, it's going to be yellow. Hold on. It didn't do the yellow. If it's equal to, it's going to be yellow. All right? And then I'll have the same condition, the same format in here. This is going to be the C, this is going to be the E, and then this is going to be the right. You could do the same thing. So now if I look at this first position, I'm looking at that root typically. Or if you're playing it this way, you're usually looking at this as the root. If you're playing it this way, you're usually looking at this string as the root, which is what I'm looking at right now, generally. And then if I moved it up to the next position, where is the root? It's up here on the eighth fret. That's where the next root is on this string. So 12345678, boom. Moving it up to there. So you could start and move it up to there. And then where's the next root happening on that string? It's right here on the tenth fret. So if this is 8910, I can move it up to here. You'll see that these distances are relative to the 145 in the key of C that we talked about. So you can start to see how far up the fret board is the 145, if you start in like the open position example. And then of course you can do the same thing like this, the full bar board, which you could practice playing, it's a more difficult thing to hold down typically. And now I'd say this is that 12346 fret. That's where you get to the next root, right? So 123456, boom. You can see when I play that, that's the same as what I did before. I just put my finger down here and mute the top. When I do that, then this is the main root, versus this being the main root. These are the same notes. And then when I move it up to here, moving it up to the 88 right there. This is the same root as this is the same thing as you can also play it, which is these three strings mute everything else. When you start to move that that's useful to do. Just remember whether or not you're still in the key of C. In which case you'll play the positions relative to the key of C. You'll be going from the four to five to one. And you can think of that in the key of, and you can think of that as a different mode if you want. That would be the modes that you would be in. You could do it that way or you can switch the key entirely, which isn't our point of focus now. But it's a useful thing to know, just switch in your head that now you're playing this in the key of now being the one chord, and you're playing the relative 4.5 which will have the same shape up on the neck of the guitar here. 3. Open Chords C Major Scale – F Major Chord & C Scale: Guitar and Excel, Open Chords, C major scale, major chord and scale. Get ready and don't fret. Remember the boards fretted so you don't have to be 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. However, 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 the 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 four tabs down below, two example tabs, OG tab and a blank tab. The OG tab representing the original worksheet we put together in a prior section, mapping out the entire fretboard, giving us the entire musical alphabet, numbering the entire musical alphabet, providing a worksheet to create the scale that we're focused in on. And then giving our scale and chord worksheets on the right. We then copied this over so that we can focus on the particular areas, in this case looking at the C major scale and then focusing in on each of the chords in the open position. We started that process with the cord. So that's in the example C where we hid the cells of the fret board. So we can just see in essence the open position. We mapped out the C chord in that open position and then we analyzed it in multiple different ways. We are now continuing that process with the we copied over in a prior presentation from the OG to the blank tab. We Hid cells so that we can see only the open positions from frets zero to three. Then we mapped out the chord where we had the 135, the one being green, the three being red, the five being yellow. And we noted that we can finger this position multiple different ways as long as we're grabbing one of each color. And we will be playing, in essence, an F major chord. Now what we want to do is think about the scales on top of that, in a similar way as we did in the prior presentation. Starting with the pentatonic scale and then looking at the major scale. Then we'll put them together and then we'll talk about the relationships between the C scale and the F and the major scale. It's important to remember that we're actually in the C major scale, even though we're focused on an F major chord. We're really trying to map out the fret board in this open position related to the C major scale. We're taking now the four note, constructing a chord from it. The way we do that, we can take the four note in the scale and then skip every other note. So we've got the, we've got the A and then the C. But when we actually name these notes, we name them in relation to its particular scale. So we call it a 135, not of the C major scale, but of the major scale. In other words, if I go back to the OG tab over here and I map out something in the key of, now you're going to have the same 135 as the one note, and there it is, 135 in terms of its related scale. So that's kind of important to remember because when we're moving from one to the four, you could switch entirely to the scale, the related scale, or you can think about it inside of, in essence, the C scale. And that's going to be our major focus here. In other words, when we're noodling around with this, when we're adding other notes in the pentatonic scale and in the major scale, we have two choices. When we move to the four chord, switch entirely to its related scale. Or we can stay in the tonic scale, the root scale, our home base, which in this case is the key of C. Or we can do a modal thing, which we'll talk about a little bit now. Last time we can do that a couple different ways. We talked about if you have this, you can think about it as we're in the key of C and then we're going to be playing an F and practicing the, So that means that you need to keep the C as your root, so you can basically play the C and then move to the F. And then we said that you can lift up any finger that you want, and that should fit because any of these open notes will fit in the key of C. And we're playing this as it relates to the KeyfC. These three notes fit in the key OfC, but not all the scale will match the key of C. If we think about us being in the keyfC, then we can lift up our fingers and we're in the key of C. Now if you wanted to practice the itself and not be going back to the C, that means that the would then be the tonic. It would be your central location if you're just jamming here. And Up, fingers doing whatever you're doing there. And you're not going back to the C, but you're playing notes around it that are in the key of C. Then you're playing a mode, and you're playing basically the fourth mode. So you can do it that way and you can think about basically playing in the key of as if it's your central. One way you can think about that is you can just say, well, I'm playing the notes in the key of C, but I'm using as my total point, my center point. I'm always going back to, that's the place, that's my home base. Or you can basically map this out to a mode. And remember the modes are to the right. So if I go to the right, we see the Minor, we see the Dorian, we see the Phrygian, and then we see the Lydian. And the Lydian is the F. Lydian has all the same notes in it as the C major. In other words, if I hid this, let's go ahead and hide this out. Just to check that out, Go from here to here. I can hide this. Now you can put this side by side and you can see the same notes, but now you're saying the one is in the Lidian. Now one is the. But now the 145 are no longer, you can see by the capitals here, the upper case, the 145 are no longer the majors. Now the 12.5 are the majors, because we basically just reoriented this so that the one is now the, even though everything is the same as the key of C, whichever way you want to look at it, you can practice that way. And we're still basically trying to map out all of the notes that are in the key of C on the fret board. We're just changing the focal point. All right, so given that, let's go ahead and I'm going to unhide this again, and then I'm going to hide back from here. Click and hide. All right, so then we can go down to the pentatonic. Now when we look at the pentatonic scale that's mapped out in green now, the dark green. And then we still have our on top of it, noting that this pentatonic scale is related to the key of C, not the key of, because we're imagining we're in the key of C. These three notes are in the key of C. But not all the other notes in the F major scale are, if we're noodling around here, can noodle around with an F and then pick these chords up which are in the key of imagining that is basically our root note. Now as we do this note, that the itself, that's one of the notes that are not included, right, because we've got the 1,235.6, are the five pentatonic notes. We don't have the four and the seven. So that actually isn't in the pentatonic scale for the key of C, which we're working in. It will be in the major scale, of course, because we constructed it from the major scale. Now the benefit of the pentatonic scale is that it gives you a little bit more flexibility, or it's safer oftentimes to play when you're switching from chord to, for example, the notes you're playing within it are usually a safer bet that they're not going to clash. For example, you might want to focus in on a particular area. Here again, you might do this a couple different ways. You could say, well, I'm in the key of C, so you'd have to play like a C. Then you could noodle around in the key of C, like I could focus in on this one little bit right here. And I'm always saying that the open chords are good because I'm in the key of C, so I'm just seeing what can I noodle around and then go back to the KFC, and then I'm going to switch to the. And I could do the same thing and that little square, right? And so just an easy strumming like just two down or something. And that'll help you to switch back and forth. Now when you do the downstroke on a C, that subconsciously puts our ear in that key. When I play these notes, you're not thinking, your listener doesn't think, You don't think probably either when we're playing it. I don't think when I'm playing it that, that sounds like a key of C. But it does because I lay down the base. Then when I switch to a key of F and I play those same notes, they sound a little different because they're now playing over the, you just lay down the foundation with a St, double strum C. So those sound like they're close to a C. So those are the same notes, but they kind of blend into to the. The other way of course you can practice this is you can make the, the tonic or the central point, and you say, I'm not going to go back to the C, I just want to focus in on the right. And then I'm kind of restricting myself to that little box here, which is a little difficult. But if you do that, then you can practice just basically the, just remember that you're playing a different mode where you could go to the mode on the right hand side and look at the modal worksheet making it the one note. Or you can just think of it as I'm playing the key of C, but acting as though the four note is the tonic. So that you're still memorizing all the notes in here as they relate to the key of C. And that's important because now you're really mapping out the fret board in these positions where your fingers can go in relation to the key of C, but now you're just using the four note as like the tonic and that could be fun to play with. Then you could do the major. Now this is the same thing, but now we have our shape, which could be this or it could be this. And now we're mapping out the major. The major on top of it, remembering again, the major that we're mapping on top of this adds the other two notes, but it's still in the key of C. So we could then, like I could look at this bit down here and that fits nicely into my shape, right? So if I have this shape, I can see that I can play those notes, right? I have the open note, this little box, and then this note. And then I have these two notes that fits pretty nicely into both of these shapes. So if I was playing a C, I could do that pretty easily. And then if I switched to an F, I coul do that same thing, right? I'm just noodling around knowing that I can play these notes, right? I'm focusing in on these bottom strings and I don't even need to focus in on the open ones because I know open always works, so I'm really just focusing in on these. And then I'm lifting up a finger so I can be like, alright, there's the C, F, F. All right? And then obviously you can add to that anything that's in that you're actually strumming too, right? And you could start noodle around with that. Or again, you could just noodle just with the, say, Now I'm noodling around. I'm still playing in the key of C, but I'm using the four as the tonic. So I'm going back and forth from this box to the right. So that's the general idea, and so you can kind of noodle around with that. And then if you put these on top of each other, now we're looking at, if you think about these on top of each other, the blue notes are the bottom part. And then on top of those blue notes, we put the pentatonic scale. And the pentatonic scale covered all the blue notes. Didn't pick up the, because that isn't in the pentatonic scale. And then we put this one on our chord that we're focused on top of that you can try to get a difference between what's in the chord versus the pentatonic scale versus the major scale. Notice when you're neuling around as well, it's useful if you're leading as you're ningun, you start and end whatever you're playing on. A note that's in the, the green, the red or the blue or C, it will usually sound better. Because those are the notes in the cord, so you kind of noodle and then you go into these other notes as a passing through note and then you go back to one of the notes that are in the cord generally. And that is one way you can do that. Now you'll do that naturally because once you start to just kind of do that, that's what will sound good. So that's what you'll probably tend towards doing. Then remember that the next thing we want to take a look at are these shapes. So we said that the 145 has this shape that you can basically move up. So I'm going to unhide some cells again from F to K. Right click and unhide and then I'm going to hide from 12 on over here and I'm going to right click and hide. This is the position of the. Now we have and the home position. Now if I'm in the key of C, then the next thing we could play, that's still a major, is the five. So I can go from the four to five. Then you see that we have our position here. In other words, if I was to play this out, I can be here, I'm playing in the key of C, but I'm starting on the four, in the key of C. And then I can move up to here, which is the five, same shape up to here. That's useful to practice with. But then you might be thinking, well, what about the pentatonic shape around that? The pentatonic and major shape will not be the same when I go 4-5 If I'm still thinking about the whole thing in the key of C. If I was to switch entirely when I go from one to the four to five and switch keys, then it's a different situation, you could think about it either way. But we're really focused in on the key of C right now. We're saying I can move this position up, I can do this, I can play all the notes, arpeggiate in it, but I can't really move the whole, the related major shape around it up. Because it's not going to be the same exact shape as we move the related shape up. Let me see if I can map that out and we'll see what that looks like. Just to see that if I go into the here and I'm going to say add and we'll make the rest of it blue. We don't have a C, so I'm going to add that. I'll blue. Then I'm going to say, okay. And then we have a D. We have a D, we don't have an. I'll make the blue there. We have that. And then insert an, we don't have an yet, so I'm going to make that blue because we're focused on the five. Let's make that blue then. Okay, And then Insert. Do we have an A? We don't have an A. I'll make that blue. There's going to be our scale that's around it. If I looked at these two on top of each other, it's a little difficult to get the worksheet sized. All right. I have the same shape here in terms of these notes, but we don't have the exact same shape. If I was. Let's actually hide so I can see this one. Let's hide these down to here, right click and hide. Okay, there we go. Now I can rezoom in a little bit, but now I don't have all the blue notes on this side. What if I copied the conditional formatting across? I think that works. Yeah, I think that works. That's nice. All right, so now I can see this shape here. I can see that shape being moved up. But not everything out like these two are still colored up top. But this bottom bit is different, right? So the major scale around it is not going to be the same even though that shape is the same. So that's just something to keep in mind when you're trying to map this out and think about what you can do, what is in the major scale, because remember we're focused on the major scale. Let's unhide this again and then I'm going to hide all of these numbered ones. I'm going to say, let's hide that right click and he then this one. I can hide. That's not useful. Right click and hide. Okay, And then I'll go down here and do it again. Right click and hide. All right, there's the five and then let's hide these ones. I'll select this right click and hide now. And then here it is. Going back to the C. Now remember note that we're playing in the key of C. So when you're thinking of moving this position from here to here, you could start with a C like this, or you can just start with this position. If you do that, then you're playing in a different mode because we've eliminated the C. Now this is a different shape. So the actual C shape, if we were to move it up, is up this fret. So I'm looking at that C on the ten right, 123-456-7810 And I'm looking at that shape right there. That's another place that you can basically play a C. You can move this shape up here and be playing the root node. If you're playing in the key of that's going to be that one, then let's go ahead and hide this. I'm going to say let's hide from here to here. Right click and hide. This is now the key of F, So this one we actually changed to the key of that. You're, if you're playing something even with the C as the root, when I switch from chord one to chord four, I could think of it as just those notes are still in the key of C. And I'm playing that chord, I'm going to noodle around the major notes around it. Still in the key of C. Or I can switch entirely to being in the key of, right? I could switch the whole thing to being in the key of when I make that change. So that when I noodle around something, I'm going to play the notes specific to the key of instead of the key of C. And then I go back to the key OfC. Again, right now we're really focusing in on trying to understand everything in the key of C. But I just want to note that for context then. But also just realize that when you have these shapes, you could play with these movable shapes as if you're playing this and you think of it as the one. Then you can play the 145, starting with that shape and move it up to the relative position. If you played it this way. Let's do a bar chord one, I can move that to the six, and then I can move that up to the eight. I could start to see those relative positions that way. Then I also just want to map out what it looks like if we had this shape with the, with its related scale around it. Let's select this entire thing. I'm, let's say this is going to be equal to. And I'm going to say that we actually, let's just do this bit. I'm going to take just this bit, I'm going to say this is going to be equal to. Then I'm going to add, we've got the, we don't have a. I'm going to make that blue. Making that blue then. Okay. And this is going to be equal, we don't have a B in that area, so I'm going to say, let's make that blue. Okay, This is going to be equal to a C is in there. We don't have a D. Let's pick up the boom, the, we need the, I'm to say, alright, let's pick up an equal to the boom, custom blue. Okay, there we have it. And you could see, although the F is in here, if I compare that to the shape we had, this one, it looks different, right? So I can go down and say, hide these. I'm going to right click and hide. Now up we have the same shape in here, but here we're thinking of it in relation, actually I hit too much, I don't want to hide that much. Let's tie it from here. You're going too fast. It's skipped, it's skipped right click and hide. This shape still has the in it, but we're thinking of it in relation to the C as though it's the four. And the blue notes around it then are in the key of C. Whereas this one, this one down here, is in the key of. Now, the blue notes around this one have to make it pretty small to fit in here. The blue notes around this bit, 1-3 are in the key of. Now you can see the shape is similar. That top bit looks the same, but this one is different, right? That's just, you just got to be careful in terms of when you're playing the, are you thinking of the in relation to the root or tonic, the key of C. Which is what we're doing right now, because what we're trying to do is map out the entire fret board in the key of C and all the notes of the fit in the key of that will sound good, but you can also think about it when you're switching from one to the four that you're switching entirely. And you can switch the entire pentatonic scale to the related and it will sound more majorishn the C stuff noodling around behind it. So we'll talk more about that later, these pentatonic shapes. But right now, I just want to note that our goal here is really to map out the fretboard in the key of C. All of the notes that we're playing at this point in time are going to be the non sharped and flat notes, which is easy to remember because those are all the notes that are in the key of C. So if you're playing something that's a sharp or flat, then you're doing something different. Not necessarily wrong, but you're going to another scale. Somehow you might be thinking of yourself being in the key of which you can do. But you want to keep that straight in your mind so that when you're practicing, you have a general sense of the key that you're in. Because then you'll start to be able to map out the fret board in your mind. You'll be able to say the things will relate to themselves a little bit more. Next time we'll try to name the intervals of the 135 and map it out technically that way. 4. Open Chords C Major Scale – F Major Chord & Intervals: Guitar and Excel, open chords, C major scale, major chord and intervals. Get ready and don't fret. Remember, the board's already totally fretted, so you need to be the call 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. However, 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 the fretboard, give us our scale and related chords we're focused in on. If you do have access to this workbook though, there's currently four tabs down below, two example tabs OG tab and a blank tab. The OG tab representing the original worksheet we put together in a prior section. It now acting as our starting point going forward, showing the entire fret board, giving us the entire musical alphabet. We then numbered the entire musical alphabet showing the worksheet and the key that we put together to be able to construct the worksheets on the right, giving us the scale that we are focused in on, as well as the chords that we're focused in on. We then copied the OG tab over to focus in with this section on the key of the C major scale, looking at each individual chord and its location on the open positions. We started with example tab over here, which is showing then the hiding of most of the fret board, just showing kind of the open positions from zero fret to three fret. So we can see how to finger this. We then put right next to it our worksheet, which is showing us our scale as well as the cord that we're focused in on. And then we show the chord 135 positions in such a way that we can see how to finger it. We then looked at it in terms of the scale as well, the pentatonic scale, then the major scale, and so on. We're now continuing to do that with the key of or not the key of F, the key of C, but the cord of major chord. So we're going to go to the blank tab on the right where we started this process last time, and we'll be continuing in this process this time. So we copied this over from the OG tab. We once again hid most of the fret board, so we're looking just at that open position. Put it right next to our worksheet. Noting here that we're still in the key of C. So our overarching goal map out the entire C major scale on the fret board in open position. Open position, which I'm defining as frets zero through three. So in other words, everything that we've been putting together in this entire section is coming from notes that have been pulled from the C major scale. That's useful to keep in mind, because if you put all this stuff together, then what you would have done is mapped out the entire C major scale on the fretboard. However, we don't just want to see the C major scale on the fretboard, we want to see what are the useful things that we can construct from the C major scale. And some of the useful things are, of course, the chords. This time we're looking at the four chord of the C major scaled. We constructed it from the C major scale and that's going to be an F major chord. Now we want to take a look at some of the different intervals and numbering systems to get a better understanding of that because they could be quite confusing. This is often an area where people kind of struggle or don't want to spend their time because they want to spend their time playing, of course. But if you spend like 15 minutes to a half hour, I like to do it in the morning while your brain is still working. Then when you're just strumming around and playing what you want to play, you'll at least have your mindset in, in the right position. So as you're building your muscle memory with your fingers, also be building a little bit of your mental understanding of what you're actually playing. That's what we'll do this time. So what we want to think is we're in the major chord. We're in the C major scale, I should say. We're in the chord which is the four chord of the C major scale. Let's go back and just recall how we construct the C major scale. If I go over to the OG tab, you'll recall that we have all of our notes here. Now it's difficult to actually say the notes in the musical alphabet forwards and backwards when we add the sharps and flats, Which is why as we're doing here, we often focus on the key of C, which I think is what actually happened in history, right? They looked at the KeFC and then they built from there, and that's why they put the sharps and flats maybe in between the FC, which is kind of a messy kind of thing, but it works out. That's the tradition we have. So it has its pros and its cons, but when I try to go up and down the musical alphabet. A sharp, B, C sharp, D, D sharp, and then there's no sharp, and so on up to the G sharp, which is the 12th note. And if I try to count it backwards even then just counting the alphabet backwards is difficult For going FDC, that would be hard enough. But when you add in the sharps and flats and you try to count backwards and forwards, and then you try to remember whether or not you have to say a flat or a sharp as you're spelling out something that adds a tremendous level of complexity. If you number the system and we just say an A is a one, an A sharp or a B flat is a two, A B is a 34 is a five is a C sharp or a D flat. Then you have the ability to count up and back very easily. Most people can count backwards in numbers quite easily. And then we have the math that we can do with the intervals. So I highly recommend memorizing the number of the notes. And I will call these the absolute numbers, because every other number that we use is relative. It's relative to something like the scale or the chord that we're looking at. So that's the first thing I'm going to recommend doing. You can not do that if you don't want to. I'm not saying that the sharps and flats aren't useful because that helps us to spell out notes that have all the letters and the alphabet in it and whatnot. But I would learn both, right? As you're learning everything, I think it's not too much added memory to learn the numbers. Then we constructed our C major scale by starting on the key of C, which is an absolute number four if we number them. And then we went up a whole step, whole step, half step, step, whole step, whole step, half step. When we define what a hole and half step is, a whole step is just two notes. It's actually 2.5 step is one note. If you look at that on the front board, then if I was here, a half step would be just one note up. A whole step would be two notes up. The formula for us to get a major, or any major scale as we start on the route and we apply that formula. And so I'm not going to get into like why the formula is there. That's an interesting question. But that's the formula we use to get to our major. So how do we get the notes in there? We go from four to up to 56 to get D two notes up to get 6-8 which is an E one note to get to a nine, which is an F two notes up to get to an 11, which is a G. Two notes up to get to, notice it goes to 12 and then around the horn back to one because there's only 12 notes. And then we go two notes up from 123 to get a B and then one note to get back to the tonic or the root, which is a C or absolute number four. Okay, so that's when I look at this worksheet. We're mapping out our scale now with just seven of the 12 notes, which we can see here, seven of the 12 notes, and we're starting with a C. When we're looking at this numbering system in the C major scale, we're saying the C is the one and the four is the four of the, relative to the C major scale. This is the four relative to the C major scale. This numbering system, to the right, you'll recall, is just simply still just one through seven. But the Greek letters allow us to see whether or not it's going to construct a major or minor scale easily. And the way we construct any of the notes is we just take every other note. And you'll see that the intervals will change. And we'll see that when we get to a minor, it just so happens that if we just take every other note, which is generally what we do. Because if you pick the note right next to it, like two notes that are right next to each other, there's too much dissonance, it's too close to each other. So usually that's why we kind of pick every other note, and that's one reason at least. And so that's the process that we do, and we end up with chords that have intervals that are similar. And then we can map those out and say, well, this one happened to create a major. This one A minor. This one A minor, This one A major, This one A major, minor and a diminished, which we'll talk about in its own kind of thing. But you're usually focused on the majors and the minors. So the reason we went from one to the four because now as we will see when we map out the intervals, we'll see some similarities between the intervals, between these two because they're both major. And then we'll look at the differences in the minors. So it's useful then when you're strumming around in the evenings to kind of pick around on just the 145 and then pick around on the 236, which means you'd be playing in a different, you'd be playing like a minor. You could play in the minor of the six, but we'll talk about that later. Then you'll start to be seeing the same patterns which will build in your head when you plant the seed of looking at this stuff in the mornings for like 15 minutes, right? That's the general idea. So we're down here on the four. Now the problem is when we look at the four, when we named this, notice how we constructed this. We took the, in the key of the C is the one but the is the four. And then we took every other note to get to the A and then to the C. So you would think I might name the 6.1 of the C major scale. And you could, you can see it that way, but we don't usually do that. We call it the 135, we still use these names. I'll make this a little bit larger of the 135. So why do we call it the 135? Because we're naming this relative to its scale. So in other words, if I went to the scale over here on the OG tab and I changed this to the key of which is a nine, absolute number nine is an F. Then now you can see you still get the AC, and now it is in its own key, the key of major, the 145. The 145 of its key is C, but I get the F AC over here, but I built that from our C major scale. Again, that's why I get into the relative number in system. You got to say, well when I'm talking 145, I'm not talking about that relative to the scale I just built it in, which is the key of C. I'm talking about it relative to its major scale. Now luckily we don't have to go over to the OG tab over here and map out the major scale to do that. Because the other way we can discuss the 135 is saying of the scale is by saying, well, I know the one is the root of it. And the three has an interval which will be the same in this case. If it's a major interval, it'll be four notes away, or a whole step and a half step. Then C will be seven notes away from that first note. So we'll kind of define it by the intervals is the general idea. So that's what we'll look at now. So what I would do is just take the pick up the guitar in the morning and I'd use my worksheet as a crutch until I can basically finger what I want to finger without the worksheet as a crutch. Right? And so you could finger it this way. You can finger it this way. And remember when I say that this is an open position, you also want to keep in your mind that this is not, in one sense it is an open position because it's what you would play in the first three frets, which I'm defining as the open position four and F. But in another sense it's a bar cord. And that'll be useful when we start to think about the cage system and moving up bar cords because we're basically taking this position here and we're moving it up to here, but then borrowing off. So I have to change my fingers to bar that off. So we're talking about basically an E major bar cord shape, which is what we need to use to play an F, because there is no open position from that sense. So even though you could still think about this as kind of like an open position F, we can play it this way, and we can play it this way, which I think is a quite comfortable way to play it. And we can play it this way. Let's go ahead and then look at each of these notes and map out the intervals for, let's say we are playing like these three notes first. Like the easy way to play the. Now the advantage of this one is that the F is now the lowest note. This is often a good way to start mapping something out when you're looking at the lowest note being the root. Because that makes it easier to look at. Say okay, if that is the root, you'll notice that the third is right down one and back one. Similar to what we saw in the C major scale. And then we have the fifth down here, which is just down one and back one. But that's because we're in that funny interval between these two strings. All right, So then if I go to the first one, I will generally start to just kind of name this out just so I can try to get the numbering system in my mind. So I'm going to say this is the relative position, one of the of which is an Or, a nine. So I'll call that out relative position one of an F, which is of course an F. And then I'll go to the next one and say this one right here is going to be relative position three. Let me copy this over here. I'll call it relative position. And notice it's a four note away because this is the third. The third is the differentiating factor between a major and a minor. So you can say it's four notes away is going to be like two whole steps, but I just think of it as four notes. So I would say this note right here is the four away major third. I'm going to define it as a major third. Differentiate it from the minor third, which is not something I had to do with the one because whether I was talking about an F major or an minor or any other mode of the one of it would always be an when I go to this one, however, with the third, I need to indicate that it's a major in some way. So I'd at least need to say it's a major third versus a minor third. But I will further differentiate it in my mind to tell me why it's a major third, because it's four notes away as opposed to three notes away. Notice how we constructed it. We still just took every other note in the musical alphabet. You could think of it from here, or you can think of it from the F. But there's a difference in the absolute intervals in terms of this being four notes away versus three notes away. So I'm going to say that's a four away major third of the absolute absolute note, which is a nine. And then I can do my math and I can say nine plus 491-011-1213 Notice I get to 13 when I do that, and there's not 13 notes in the musical alphabet. So I can pull out my trusty calculator here. And you don't need a calculator to do this, but I'll just want to show it in the calculator for now. Obviously, if I say, okay, wait a second. If I was on absolute position nine, and then I added four notes to it, that gets me to 13. There is no 13 notes. There's only 12. So what you would do is subtract out 12, and that gets you to note number one, which is an A. Now oftentimes the easier way to do that, I think would be to say if I'm on relative position nine plus I want to try to get to the major third, which I know is four notes away. So I could say plus four. It's going to get me to 13 anytime I'm in the teens. Anytime I'm above 12 and below 20. The easiest way I think about it is just dropping the one. Meaning minus ten gets me down to three. And it's always minus two, right? Because there's 12. And then I say minus two in my head. I think the shortcut way to get there the fastest would say, okay, I was on a nine and then I said plus four because there's an interval of four that gets me to 13. And then I just drop it down to three in my head, which is like subtracting ten. And then I always just take that minus three, minus two as one. That sounds quite complicated, but if you do that a few times, you'll start to see that'll start to be relatively easy to do. That way it's easier to get to these positions, counting the intervals. Now, I just want to point out as well that if I took this A right here, when, I'm sorry. If I take this right here and I say it's four notes away, you could do it this way. 1234. So if I counted up here, that's an A right there, and I know that this one down here, that is an A. Notice you could start to see the relative positions in the guitar, right? Because if this is A, it's 12345 frets, five frets up the fret board, and one fret above gets you to the same note, right? And I'm not going to talk about octaves and whatnot right now, but just in terms of the tone of the note, that's the same note. So, but obviously we're trying to play this in one position here. So in one position I can remember that that note is going to be down one and back in every string except the funny relationship between these two strings, okay? So, and then this one. I'm going to go to this one and say this is going to be relative. Let me go down to here and say this is going to be relative position, and I'm going to say it's a seven away fifth. Now when I say it's a seven away, notice I did not have to say that it's the seven, no away major fifth. Because there is no difference on the fifth, between the major and the minor as there is with the third. So I can just say it's a seven away fifth. And that will be the same whether I'm playing a major or a minor. Now remember when I say it's a fifth, that means it's a fifth of the scale. I'm not talking about this scale, because this scale is the C major scale. So when I say it's the fifth, I would have to say it's the fifth. Going to the OG tab of this scale, of the scale, it would be the fifth, which is a C, that's where the C is. But obviously, I don't normally do that because I don't want to bounce back over to reposition my mind to another scale all the time. I can say, yeah, it's the fifth of that scale, but I'm looking at it in terms of intervals of what I'm playing on. If that's the one, then the fifth is seven notes away. It's the seven away fifth. So I don't need to go and create the other scale to see that it's the fifth over here. I know that if it's seven es away, it will be the fifth. And of course, we constructed it the way we constructed over here. We can see that kind of intuitively as well. So I could say, all right, that's the seven away fifth. So if I did that, it's the seven away fifth of note nine. So I'm going to say, all right, well, what does that mean? Nine plus seven is going to give me 16. 16 -12 gives us the four, right? See how we went over 12? There in my mind, I would think about it this way. I'd say I started on an absolute number nine, Absolute note nine, plus the interval, which is seven, to get me to the fifth. And that's going to be 16. And then I just drop the one because I'm somewhere 12-20 So I'll just drop it to just six. And then it's always minus 26, minus two, which is easier to do in your head than 16 -12 generally, right? So now it's just six minus two and that gives me my 44 is the absolute position for a C. Now, again, you could do it this way. I could say, okay, well, if this was an I can go up seven notes, right? 1234567. And then I get my C up here, and that's great to understand, but that's not going to really help me when I'm trying to play in this position, right? So it's good to map it out that way. And you could start to see, well, what does it mean when I like how many notes up to get me back to like a whole step or a half step from in the same position when I go up a string. You could start to mold that kind of over in your mind, but there is that one. Now notice there's the C I did. Let me do that a little bit faster. Now, if I was doing this without the crutch of the worksheet, I'd be saying, okay, there's nine which is an, and this is relative position one of note nine, which is note nine. And then I would look at this one and say this string is going to be relative position. Relative position four away major third of note nine which is an, which is four plus nine. And so I'd be like 910-11-1213 Okay. 13. I'm just going to drop it to three and then three minus two is one. So I'm thinking in my mind, 13. Okay. Then I'll drop it down to just three minus two. That gives me my one which is an A and then I can go, okay. What about this one? This one, if I'm thinking about that, is the 77 away fifth. And I don't have to say major or minor because it would be the same, whether it be major or minor of note nine, which is an so that's going to be okay. Nine plus seven plus seven is 16. I drop the one or subtract ten from it and then minus two, minus two or you can think of it as okay, seven plus, plus four, what did I do? 77 plus nine -12 Same thing gets you to the four, okay? Then of course, you can add this one and you can start thinking, what if I add this one on top and I play it like this? And you might map out the intervals in your mind separately. You might want to do that first, right? I can say, well, where's the root? The roots right there. And then I know above that, just like with the C, if I go right above it with every string except for these two, that's going to be a fifth. So now I've got the fifth, I've got the one. And then this position where it's always down one and back will always be the third. So then I'm going to say, okay, and that's a major third I can see. And then because of the funny position between these two strings, this one going back, just one where you would think that would be is the fifth. So I'm going to say, okay, that's the fifth relative positions, 51, major, third, fifth. And then I'll map it out this way again and I'll say, okay, this is a five, this is a seven away fifth of nine which is an. And. Seven plus nine is 16 minus ten minus two gets me to the four. This is the root, this is relative position, one of note nine which is an F, which is of course not nine, which is an F. This is the relative position. This is the relative position. Four away major third of nine, which is NF. And that means that 94 gives me 13. Dropping it down to just a three minus ten gives me three, minus two gives me one. Or I can say that it's 94 -12 gives me the one. And then I can say again, this one is going to be the seven, another seven, a fifth, seven away, fifth of a nine, which is an which is nine plus seven. Again, nine plus 716, dropping it down to a six minus ten and then subtracting two gives me to the four. And then I can do the whole position, the whole barward, and map this out. Again, it's really useful to map out the intervals because when you look at this full barward, then it's useful to know what's the 135 of this barward. I can say, okay, this one is always the root. That's relative position one. This is going to be the fifth all the time. So that's a really useful interval to see from here to here, that's the fifth and I'm going to call it a seven away fifth. And then this is going to be the root again, so notice I have two of the root here, so I'm going to say that's relative position one of note nine. And then here now you see that note again is the third, so I'm going to call it a four away major third. And then here I'm borrowing this off. Now if I can get that bar to work, it would be right there. And that's going to be the seven away fifth. And then this is going to be another root, another number one if I was able to borrow this off. Now it's useful to see that because notice if I was just able to play these four to ring it out, I have to get down to this A in order to at least be an F. Right. If I don't get these last two to ring out, I'm still okay and that at least it's an F because I got all the relative notes in there to do that. And then again, I would go in here and just list out the intervals one at a time. I think that's a good exercise. Now note, you could continue to do that with the notes that are in the major scale. And it gets a lot more confusing. But a lot of times you're like, okay, if I'm playing this, where else could I put my finger right? I could open this finger up. What am I doing when I do that? Right? If I open this finger up on a major, I'm thinking of myself here and I'm playing like this, having trouble visualizing this. And then I open this one up, well then I'm revealing a D. Now, what is a D? That's actually the 13. When you're thinking of it about it relative to a C major scale, you could start to do that, but then it gets a little bit confusing when you go outside of the 135 because the 791113 in this case have been constructed from the C major scale. So they'll actually change then as to whether you're playing in positions 13 or five of the major. We'll talk more about that later. But for now you could do that. You could start to map out and say, well, what's the interval between like this D and the root here? And you could build our chords and see how it works. Just remember that as you do that, you can't say that it's going to be absolute necessarily that 13 is all going to be the same, because again, those things will differ. The seven is the classic. On the next ones you'll pick up. Generally when you look at the seven, there's a difference when you construct the one, the three, and the five. Then these intervals that we put up top are really only the intervals between this first row here. These intervals have been built from the first one note. So once we start doing like the minors, we'll see that this interval, I'm sorry, this interval is not the minor interval. It'll be three. Then we'll have to see which of these things are different. The interval is different on some of these notes. Then on the one note, and we'll see that in the minors with the three, and you'll see different patterns. When you get away from that, you start looking at the seven, for example. You'll note that when you're looking at the major seven, the one and the four have an interval. And then the five has a different interval. We'll start playing with that later. But if you want to kind play with that now, I just want to point that out.