 Guitar and Excel, interval and modes complement and parallel worksheet part number two. Get ready, taking a deep breath, holding it in for 10 seconds, looking forward to a smooth soothing. Excel. Here we are in Excel. If you don't have access to this workbook, that's okay because we'll basically build this from a blank worksheet. But if you do have access, there's two tabs down below, these tabs representing the finished product, the final worksheet, what we will be constructing. We talked about the general objectives in a prior presentation, just a quick recap here. However, we're going to be mapping out the fretboard, putting the notes on the fretboard, and then we're going to make another fretboard for the intervals. And then we're going to copy that process down so that we have fretboards that we can compare for the complement modes. And then we'll do another worksheet later, having a similar process for the parallel modes. And in order to construct these, we're going to be listing out our musical alphabet. We'll then be listing out what the interval names are. We'll put our worksheet together on the right hand side. And then we've got some other information we'll talk more about in future presentations. So let's start this out. We're going to start this out by just listing out the musical alphabet and then using that to construct our fretboard. So I'm going to just make a new tab over here, just a new blank tab. I'm going to pull that to the right. I'm going to color it blue. So we're going to say, I like to make it this blue here, the standard color. And right there, I'm going to do this fairly fast in Excel. So hopefully I'll try to pace it well, but it'll be faster than if you're like totally new to Excel. So I'm going to name this, this is going to be, I'm going to say practice, let's call it a complement modes worksheet. So this is going to mirror what we have over here, which I'm now seeing as the example. And then when I start a new worksheet, usually I like to format the baseline formatting. So I'm going to select the entire worksheet by selecting the triangle or you can select control a right click. And I'm going to format the cells for the entire worksheet. And I'll typically then go starting in currency. And then I like to make the negative numbers red and bracketed. Although maybe, well, let's keep it there for now. And then I'm going to, let's, let's actually not make it red. I'll just make it bracketed, not red for negative numbers. I don't want dollar signs because we're not talking about currency and I don't want any decimals. So I'm going to remove the decimals. That's my underlying baseline formatting. Let's say, okay, I'm also going to make the entire thing bold by going to the home tab up top, font group and making it bold so that people can see it. You might not need to do that, but when I do presentations, my editor says that I have to be bold. The producer says I need to be bold so that's as bold as I can get it. So let's then say that we're going to map out our musical alphabet. Let's start there. Now, when you think about the musical alphabet, there's only 12 notes in the musical alphabet. So the first thing we might just number them and say, okay, there's 12 of them. Let's put the number of the notes and let's just put one, two. And I'm going to drag that down until my shoe is buckled. One, two, and then buckle my shoe and then go down to 12. I'm actually going to 12. So then we're going to do that. And I'm going to make this a little bit skinnier by putting my cursor between the A and the B and skinifying it. Skinnerized. The whole column's been skinnerized just like I'm going to do when I get on my diet. I'm going to go to the home tab. We're going to go to the font group, drop down. I like to make the headers black and white. So I'm going to make these black on that. And then the font, I'll make that white. And then I'm going to center it on the alignment and center it. Okay, so then let's put the letters. So I'm going to just call this the let L E T. I'm going to abbreviate sometimes because these headers are going to get a little bit long. There's a couple of different ways we can deal with long headers. But for now, I'm just going to, well, let's put the whole thing. I'll put letter here on the whole thing. And then I'll also make this home tab, black, white, and then let's center it. Now the letters in the musical alphabet, there's A and then there's a B. I'm going to make it a capital. Now there's an A sharp, right? That's what gets messed up. So remember, one of the confusing things in Western music is it looks to me like everything is kind of based off the major scale and possibly more precisely the C major scale, right? So it kind of looks like everything was based off of seven notes as a C scale. And then we kind of shoved in there the sharps and flats is kind of what it seems like, right? So we have to deal with these sharps and flats. So that's the first thing we've got to remember is or get an idea of where are those sharps and flats at. Now to put this in Excel, I'm going to abbreviate it, which might not be the proper abbreviation, but an A B and that meaning lowercase means that it's either going to be an A sharp if you want to call it that or a B flat. It's the same tonality either way. There's going to be conventions in Western music, which works out pretty interestingly so that when we actually voice different chords or different scales, for example, we usually have one note of each in the musical alphabet so that we don't have two A's next to each other. Because that's why we can use the sharps and flats to name those sharps and flats to kind of not have two A's. But we'll talk more about that later. So that means this is going to be the B and then when we go from the B to the C, there is no sharp or flat. So that has none and this is in part due to the formula whole, whole, half, whole, whole, half, and we'll talk about more later, which has within it, if you just look at the natural notes that don't have the sharps and flats already has that natural formula within it. That's why it looks like everything's kind of being constructed from the major scale, which becomes important when we get into these intervals. So I'm going to say then there's a C sharp or D flat, which I'm going to represent by a lowercase C D, which might annoy some people. But then I'm going to put a D and then we're going to go to a D sharp or an E flat, and then I'm going to go to an E and then there's no sharp or flat after the E. So we just go to the F and then we have the F sharp or flats. I'm going to call it an FG to do that lowercase. And then we have the G and then we've got the G sharp or A flat because we're thinking about going around in a circle. And so when you envision your musical alphabet, we can imagine it going on forever. And if you think about it in a piano, it goes on forever, but the octaves go up in pitch. So, but it's easier to actually to think of it as a circle, in my opinion, right? So if you think of it as a circle, even though we wrote it linearly, then it would go back to A. And A, although you can think of it as another octave up tonality wise, it's gone back to its starting point. And so a circle is a nice, easy thing. You can also think of it as a spiral, the octaves going on forever, or you can envision it going on forever. So I can repeat this process and just keep on going up and start at the one again. So the one would be the A and it just keeps on going down. And you can repeat this process over and over like a set of piano keys that goes on indefinitely. So hopefully I've got those letters properly situated. Now I'm going to make this as small as I can to fit it to fit it here. And I could wrap the text home tab alignment and wrap the text, which is kind of ugly because I'm going to I'm going to then move this up later. So I'm going to put some headers on here that are a little too long. And then I'm going to wrap the text is going to be what I'll do once we get an intuitive understanding of what these cells are. So I'll widen it for now, but that's how we'll deal with these kind of long headers so we don't have a worksheet that is quite as wide just from a logistics standpoint. So then we're going to say, OK, now what I'd like to do is combine the letter and the number together. Now, in my opinion, it's useful to know the number because that that allows you to use simple math, especially when we're talking about these intervals. So if you don't memorize the number, you don't have to, but I really think you get the best of both worlds. If you can get in your mind that an A is a one, an A sharp or B flat as a two, a B is a three, a C is a four, C sharp, D flat is a five, the D is a six, D sharp, E flat, seven, E is an eight, F is a nine, F sharp, G flat, 10, G is an 11, and G sharp is the 12. If you can do that, then when I have questions of going, OK, I went from a D to an F and it's like, oh, how far is that? Well, it's difficult because you got to know where there's a there's a there's a sharp here and there's not one between here. So it's hard. You got one, two, three, you have to count up, but it's a lot easier if you can say, well, a D is a six in the musical alphabet and an F is a nine absolute position. If you just think of those as the position starting from A to G sharp, then you can subtract nine minus six, six, seven, eight, nine. It's going to be three. It's a lot easier than trying to say, oh, it's a D and then there's a D sharp. You can do it the other way. But numbers make it easier if you can switch back and forth because you can do basically simple math with these intervals. So I find that to be really useful. So now what I'd like to do is combine those two together. So this is going to be both letters and numbers. So I'm going to say, let's say numbers and letters, and then I'll make that sell shorter again like we did before, say numbers and letters. So I'll make that home tab font group black, white, and let's center it alignment, wrap the text and center it. All right. All right. So then we're going to say, I'd like to combine these together. Now we're going to use a little and function to do that. So we're going to use a cool little function in Excel. It's just going to be equals. That means it's going to be a formula. We're going to pick up that one. And then I'm going to say and, which is just an and signed, which is kind of code for Excel, which means I want you to tie in and just put next to each other what you had here and what you had there. So we go boom, and there's the one and a. So now I've got the letter and the number in the same place. And I could just copy that down. I could put my cursor on it and just double click the fill handle and it copies it down. So this is the two, which is an a sharper B flat. This is a three, which is a B. This is a four. This is a C. Now these are not relative positions. These numbers, these are absolute numbers. I'm going to say a four in terms of a note is equivalent to a C always doesn't matter where the starting point is. We're not talking about intervals here. And so so then and so so that is going to be that. And then I can use that to build my fretboard. So let's start with the fretboard over here. And then once I build the fretboard, I'm actually going to move it. I'm going to move the fretboard to the right and I'm going to put this to the left and I'll put this to the right of it. So let's let's start to build the fretboard. So the fretboard, I'm going to say is a zero. That's fret zero and then one and then I'm going to make the frets go on out. There's only 12 notes in the musical alphabet, but I wanted to repeat two times over as though we had a really long fretboard. That's that has two full links on it because theory wise, that's might be useful. So I'm going to pull it all the way to the right. There's 12. I'm going to pull it all the way till it gets to 24 24 frets. So there we have it. And then I'm going to select all of these frets and make them a little bit smaller. So I select the whole column, put in my cursor between the column. I'm going to make them a little bit smaller. Let's bring it to right there. I'm going to select all these frets again and put them as my header formatting, which is going to be home tab font group black, white, and then I'm going to center them as well. We'll center them. I'm going to make this one red to try to represent that that's my nut. Right. That's they're going to be the end of the guitar where you're not putting your finger on anything. So I'm going to say this is going to be home tab font group. Make that red. Now I'm going to put the letters of the of the notes. Now, as I put the notes on the guitar and I'm going to imagine each of these being frets. So we've got these boxes that we're going to put the notes in. I'm going to put the top or lowest string on top, which is not what you will often find in tablature. But I think it's actually the easiest way to envision the guitar. If you don't want to do that, you can do it the other way around. But let's just let me just give you my justification why I think that's kind of the easiest way to see it. If you have not looked at tablature for a long period of time and gotten used to being able to orientated in your mind. So when you look at the guitar, if I look at the face of the guitar and I'm and I'm not playing it. I'm looking at it this way, which means that the smallest or highest pitch strings are on the top. But actually when I play the guitar, I'm actually looking at it kind of over the top of the guitar. The back of the guitar is on my chest, right? And I'm looking over the top of the guitar. So I'm actually envisioning it not with the smallest string on top, but the largest string on top. I think that's kind of how most people basically envision the guitar. So we're going to imagine we're looking over the top of the guitar. If you're holding the guitar the way you normally do. And if you took the guitar and pressed the strings against the page like so. That's kind of how we're envisioning the fretboard here resulting in the lowest E string on top, the thickest string on top. Okay, that's the project. So we're going to start out by just listing out the open strings, which basically you just have to memorize remembering that this zero represents the nut. So these are the frets or this is going to be the open position if you were not to be fingering anything and just playing the guitar's open strings. So we have the eight, which is an E, one is an A, six or D, eleven or G, three or B. And then another E, which I can say equals the one on top. And let's make that a capital E here, a capital E. So we'll have everything in the cat. So E, A, D, G, B, E. So we just have to basically memorize that. And then if we go to the right, what's going to happen on the first fret, we're going to go one half step up at a time. So it's going to go from an eight or E, and then it's going to go to an F and then an F sharp and so on. Or you can think of it in numbers eight, nine, ten, eleven, twelve, and then back to one, two, three, four, five, six, seven, eight. Notice it's going to repeat again on fret twelve because there's only twelve notes in the musical alphabet. So when we go from the open to twelve, we're listing out all the notes. Actually it's open to eleven because that's one, right? If you start there, we have at fret zero to eleven is actually twelve frets, including the zero fret, right? But then you've got the fret twelve, it's going to repeat at that point in time. So that gives us kind of a check figure over here for it to repeat. Now we don't want to have to list it out that way. So how can we get an easy way so we can copy and paste it? This is a little bit different than what we did when we did the similar project last time. So we're going to do a different method here. So I'm going to copy this. What I'm going to do is I'm going to copy this. I'm going to paste it down here, but paste it. Let's actually paste it over here so I have it somewhere different. So I can paste just the formulas. Let's paste it over here. Paste just the formulas. This is a temporary thing. This is for temporary. And then I'm going to paste it again down here. And I just want not the formulas just pasting it without the formulas pasted it one, two, three values only. That's what I should have said. So now I don't have any formulas. That's the point. This one has formulas. That becomes more of a problem. So now I can just take this. I'm going to say if I go from E, here's an E. I copied it two times over so I can it'll repeat so I can go from the one after E, which is an F. And then I go from F and I'm going to close it out at the E. I'm going to copy that. I'd like to paste it here, but I want to paste it so it goes horizontal instead of vertical. So I'm going to paste it special right here and then transpose it down here. Transpose it and that'll paste it horizontal. Now the fact that I don't have any formulas in here makes it easier for me to do that. Otherwise I'd have to do two steps, paste it without the formulas and then transpose it generally. But now you can see I have eight, nine, ten, eleven, twelve, one, two, three, four, five, six, seven, and then back to the octave eight at twelve. So let's do the same thing with the A. I'm going to go to the one after A and then go from that down to A, copy it, control C, and then paste it right here. But paste it specially. And then we're going to go down to the transpose, por favor. If you would please, boom. And there is A to A. It repeats again so it looks like we're doing things properly. So let's try another one. We're going from D. So the one after the D is a D-sharp. D-sharp to D, D-sharp to D. Copy that. I'm going to paste that up top. Right click and paste it special, special pasting here. We're going to paste it right transpose and boom. So there's D to D. It's repeating at fret twelve again. That looks like it's doing what it's supposed to do. Let's go to the G. So the one after the G is a G-sharp. G-sharp down to G, G-sharp to G. Copy. And then right click on F5 and paste it special. Transposing. Okay. Boom. It repeats over. It looks good. And then one more. And then this bottom one's easy because I can just repeat the top one. So we're just going to say one more like this. So we're going to go from the one after the B, which is a C. And then it's going to go from, wait a sec. Let's go from here. This one C to C. C to shining C. All right. We're going to right click. Oh, but wait. I don't want to go to the second C. We're going from C to the B right before the C. We go to the C and then right to the beach of the next C. But we don't go in the C because we want to stay on the land. So we're going to go copy that and paste it over here. Paste it special. And then we're going to go transpose. Boom. All right. And the last one, I could just say this equals the one up top because it's the same notes even though the string is different. So there it is. And I think that looks good. I think that's it. I think we have it. So now we can repeat it over here. So one way to repeat it. That's pretty easy as I could just say this equals the one after the E. It repeats here. And then when I copy that across, when I copy that this way, it'll shift the cell one string up each time. So that's one way you can do that. That's a useful technique that we will be utilizing. I'm going to do the same thing down here. I just copied it down and then I can copy that over to here. And then I could just take all of these and copy them to the right. And if we do this correctly, we should have another repeat over here of the E, A, D, G, B, E, 8, 1, 6, 11, 3, 8. Now I'm going to do some formatting. Let's go some formatting. I'm going to make this because it's the nut. We're going to go to the home tab font group. I like to make it black and then white. And then I'll do that same formatting. We could format paint it to make it easier and put that on the 12 because it's a repeat there. And then I could format paint that to the 24 because it's another repeat. And then I'm going to take all of this and put some borders around it so that we know where the lines are. We've got to know where the borders are. Font group, border it. This isn't, well, there we go. So then I'm going to delete this stuff because I don't need this anymore. It has served its purpose and now it will be eliminated. It's no longer necessary. We're going to eliminate it. And then I'm going to, I'd like to pull this stuff to the right side of the fretboard. So how can we do that? I can select these A to C, right-click. I'm going to cut it. Not copy it this time. I'm going to cut it so it has been cut there. And then I'm going to paste it on, let's paste it on AE, right-click or just control V. Paste in it. Then I'm going to make a skinny AD and then let's go to the right. So now I have this thing on the left. I got these columns I don't need anymore. Let's delete those columns. Putting my cursor on D or A to D, add, right-click and delete. Delete. My right-click is sticky. My mouse is sticky and I need a new mouse. You're not, you're making things difficult, mouse. Mice are supposed to make things easy. Home tab. Everybody knows font group borders that mice are supposed to make things make life pleasant. And you're making life difficult. You're not being, you're not doing your job like mice normally do. Stupid mouse. All right. So now let's stop it there and we'll continue with it next time.