Thanks for the advice. Just tried it and it works amazingly well. I combined it with playing the major scales up and down to narrow it down.
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@untimely01
Patrick, just to add to the help @stitch has given,
Major, minor and diminished chords are the fundamentals. They are triads made up of three notes. On guitar, played as chords, many of those three notes have octave repeats somewhere in their chord form.
When you add in extra notes the first step along that path - which converts them from triads to what Justin calls quadads - has the effect of making them extended chords and they become either major 7 (maj7), minor 7 (m7), dominant 7 (just written as 7 mostly, this is another type or extended major chord) and diminished 7. But the latter does not usually go by that name - perhaps confusingly. It is often called minor 7 flat 5 (m7b5) or half diminished.
do we have to practice it for 1 week?
In the Learn More section Justin states
The chords C and Am use notes outside the G Major scales as far as I can see. Is this right? I thought that chords were made from the notes of the scale?
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Stuart
C Major C E G
A minor A C E
All present in the G Major, just stack every other 3rd from the chordâs root.
Hope that helps
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Kind of! So it doesnât matter that the C & Am chords use a C at B1, which is outside the G major scale set of notes?
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Absolutory have no idea what that even means ! 
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Hello Atria and welcome to the Community.
Itâs difficult to know how to answer - what is the âitâ youâre asking about?
They are inside the G major scale but not within the G major scale pattern 1.
There are more patterns - the seven notes of the G major scale can be found in many, many places across the fretboard - including open strings.
Check back with chord construction in the practical music theory.
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Noted, but in sequence this lesson follows one about Pattern 1. Pattern 2 is a few lessons on which Iâve not got to and donât know about at this point. If this is the case it makes sense for Justin to mention this in this lesson!
Can you give me a clue as to which lesson you are referring to?
You donât need to know scale patterns to know that the G major scale is: G, A, B, C, D, E, F# and that Am = A, C, E (all notes in that scale) and C = C, E, G (all notes in that scale.
Scale patterns are a construct on the guitar fretboard to help us but the scale exists as a thing in its own right. And it always has those notes, no matter where they occur, whether you think of them as in a scale pattern or not.
Iâm curious to know what notes you thought were in C and Am Stuart? I only ask because I suspect you have a fundamental misunderstanding of how chords are constructed. Perhaps if you could explain your thinking, we can point you in the right direction.
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In fact having checked the pattern lessons in " Major Scale Maestro 1" the note C at B1 isnât used at all.
See below. The note in green doesnât appear in any of the G Major scales patterns 1 - 3.
You may well be right. Been trying to get my head round this for years and it still alludes me!
But these chords use a note that isnât in patterns 1 - 3! How do you form a C chord with notes within the patterns, or doesnât it matter?
It doesnât matter. Just see them as notes to use to make chords.
So after all that it doesnât matter that there are notes not ion the scale!
Assume then that I can use any form of the chords G, C, D, Am, Bm, and Em (eg barre, triads) over the scale?
That opening sentence is technically incorrect.
The chords listed do not contain any notes not within the scale.
They are all formed from G major scale notes.
You are confusing notes and fret position to play the notes.
The note C at fret 1 of the 2nd string is identical to the note C at fret 5 of the 3rd string. And the latter of these is in pattern 1 of course.
They are identical in pitch. But they are not identical in location.
Here is the G major scale left to right shown as two repeats, two octaves.
G â A â B â C â D â E â F# â G â A â B â C â D â E â F# â G
There are seven of these linear representations. Under each are three rouped notes selected by âstacking thirdsâ.
Take one. Miss one. Take one. Miss one. Take one.
That process follows an iteration pattern so that it starts underneath each of the seven notes, in succession.
First G â G, B, D
Second A â A, C, E
Third B â B, D, F#
etc.
That is how the seven diatonic chords from the key of G are derived from the notes of the G major scale.
RE: this âŚ
This lesson: https://www.justinguitar.com/guitar-lessons/chords-in-a-key-diatonic-triads-mt-421
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Stuart,
Richard has covered it. The notes of a chord donât have to come from within a scale pattern. They just have to come from the scale. They donât even have to come from the same octave of the scale. The following is an extreme example. Obviously itâs not playable with human hands, but if you played just the three notes together you would be playing a C chord.
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