 Guitar and Excel, C major, A minor scale fret number nine, focusing on the A note. Get ready and some coffee, because you know Phil keeps telling me, you're not showing the best trade secret guitar techniques because you're scared of being ostracized. Then I'm writing code about this kind of thing. I could be ostracized. It's like whatever, Phil. I ain't scared of no ostrich, no matter the size. I ain't scared of you. I mean, what is some ostrich trying to size me up? Oh, look. They're starting to fight. They're just circling, sizing each other up. Yeah, it's like just because birds are descended from dinosaurs, some ostrich now thinks he's like a T-Rex or something. Come on, Frazier. You can get a ham, ham first. Threatening to ostracize me. I don't think so, bird. I don't think so. I don't care of some skinny neck flightless excuse for a foul talking crap about ostracizing me, Phil. What's an ostrich going to do anyways, huh? I mean, it doesn't even have any teeth. Me scared of being ostracized. It's ridiculous. That's ridiculous. The dang bird probably gets tired just drinking water for crying out loud because drinking causes the ostrich's poor Adam's apple to run so many long laps around its lanky neck. I mean, how do you make an ostrich strained from exhaustion? You give it a drink of water. That's all you have to do. You just give it a drink of water for crying out loud. Scared of being ostracized. Whatever, Phil. You know, I'm giving out the super trade secret guitar playing classified insider info right here right now. So let's do this. Here we are in Excel. If you don't have access to this workbook, that's okay. You could just follow along. But if you do have access, it's a great tool to run scenarios with. Quick recap of the project thus far, noting that you don't have to have watched all prior presentations to follow along with this one. But a general overview of the overall project can help to orientate us. So let's go back to that first tab to get a general overview. We've been looking at the C major scale and related modes started looking at it in open position defined for us as frets zero through three. Remembering that this E represents the low or heavy string, the one closest to the ceiling. Funnest way to map out all the notes in open position is to make the chords from the scale that we are working in starting with the one chord. That being the C major chord, which we mapped out and discussed in detail. We then went to the four chord in open position because it also has a major chord construction, mapped it out, discussed it in detail. Same with the five chord. Then we went back to the two chord because it has a minor chord construction as does the three chord, the six chord, then the seven chord that we mapped out, which has a diminished chord construction. If we were to map out all the notes of all the chords, we would basically be mapping out all of the notes in the C major scale and related modes, which would look something like the blue notes here in open position. We then want to jump up to the middle of the guitar learning it not first in terms of chord shapes, but rather in terms of scale shapes, pentatonic and major scales, and then seeing how we can tie that into the chords that we learned in open position. So we discussed it in detail and then we discussed it in relation to each note in the scale that we're working on C major and related modes. We did a similar thing, jumping then up to the seventh fret, the next position, talking about it in a similar way, looking at the pentatonic and major scale, and then looking at each note in specific relation to that scale and how we can connect it to the open position in position fret five. Now we're continuing on with that discussion, this time starting on the fret nine position, and we looked at the pentatonic, the major scale, and now we're looking at each note that is in our C major scale, which is basically kind of looking at the different modes, and we are now on the concentration of the sixth note, which is going to be the A, and that will construct or build a minor chord that we're going to be focused in on. So what do all the colors mean? Well, this is the fret board, this E represents the low or heavy string, so that's going to be the one at the top of the guitar, the one closest to the ceiling here, and then we have all of the colors, all the white notes are the ones we're staying away from, those are the ones that are outside of the C major scale and related mode, so that's the lava that we typically don't touch, unless there's a reason, and sometimes there's a reason, sometimes we go to the lava, but then we can imagine the down on the bottom, we have all of the notes in our scale, C major and related mode, that's seven out of the twelve notes in the musical alphabet, and you can imagine all the colored notes having blue at the bottom, then we put on top of that the green notes, which are the pentatonic five notes out of the seven note, which is a scale that fits well when we talk about the C, as well as the sixth, which is basically the minor, so the pentatonic five notes obviously fits perfectly inside of the seven note scale, but also because now we're on the sixth and we're building a minor, an A minor, then the three notes that construct the sixth, basically playing in a minor mode or Aeolian mode, also fit perfectly both inside of the five note pentatonic as well as the seven note major, so if you think in terms of pentatonics, then this one, the major and the minor, fit beautifully any other mode that we look at, we typically have to make adjustments to it because we have to add the critical notes of the four or the seven when we build off of those notes, for example. Alright, and then we have these chunks that are breaking out the fretboard. Also note that that's going to be, then within side here we've got on top the green notes, and then on top of that we have the one, that's going to be our major point of focus, the light green, and then the three, that's going to be our second most important note, which is the third in relation to this A, and then we have the yellow, which is going to be the fifth, which is our third most important note to focus in on. So all the notes are good, but the most important notes that we're focused on to zoom around is the light green, and then the red, and then the yellow, and then the dark green, and then finally the blue. Alright, and so then we have these shapes that are giving us the different breakouts of our neck so that we can play everything, we should be able to play everything within these shapes in terms of all of our chords and all of our notes, but we'd also want to be able to move fluidly between the shapes. This first shape, we can call it a C shape because, and when we name these shapes, remember this is a little confusing, because we're focusing in on the A as our targeting point here, but usually we're going to be thinking about the related major when we label these chord positions, these shapes. So we could call it just generically position number four, or you can try to name it to its related major typically is how it works. So we're on the sixth note, which if I was to play around that note would be a minor scale. We're not going to talk about it in terms of minor right now, although the minor is almost as popular in of course western music as the major, so if people are playing in minor they're probably going to switch of course the numbering system around and make this the one. But we're going to keep with our idea here of playing around the six just like we did with every other mode, so we can more easily see that connection and we'll talk about the modes more in detail in terms of modes in future presentations. So we're going to basically play around that six. So when I think about this shape we could name it by the related major, which is the C, and if I build a C that's going to fit into the shape. Now remember that this C is representing three notes and the shape, if it was a pentatonic shape, it would still fit into the five note pentatonic shape in a unique way, but when you have seven notes that you're talking about then this C shape could fit in other positions. So whatever naming convention that you use you kind of have to keep that straight in your mind. So that would be the C, but we're focused on the A here. So the A would of course be an open position, an A minor that is this shape here. That's being outlined by the dark blue, which is a little bit hard to see, but it's difficult to put all these colors on there. So there is our shape. Boom, boom, boom, boom. Now over here it's on the outside. It's on the outside here because the ones on the left are going to be on the outside and then the ones that are leaning forward are going to be inside. So the purple, which is the next shape, is inside. So if we go from position four or the C position to position number five or the A position, this A is not tied to the A that we're looking at here, but the relative major up here. So in other words, if I shift around this C and I made a C chord going forward, it would be this C and then these notes down here, which I'm not focused on because we're focused on the A, but it would look something like that, which would be an A-shaped C major, but we're focused of course on the A. So within the A position, we can see that we had before this shape, so we had this string and this string. So there's our A right here and we could reach that A up to here. So now we have this shape with the purple here. Boom, boom, boom. And that's a little bit tricky of a shape to see a lot of times and sometimes people don't finger that shape as much. We would call that, you can call that a G, a G minor shaped A minor. And the reason for that is because if it was a G, here's a G position that's a G major and if I was to move that up here and play that G major here, it would look like this. And if I was to try to play each half of it, this would be the major shape like this. The bottom half would be that. How do I make it into a minor shape? We drop this finger the third and we get to that. So this would be like a, so now I'm lifting this finger up. So right, so it would be those three. So that would be, so we could call that a G minor shaped A minor if you want to call it that. We also have this shape within here. If I grab these two and this one. So we have this, let me put that on the outside. Oh, what happened? K, pause. Oh, I'm going to cut. I did it again. What is your problem, man? I don't know. My fingers. Okay, so here, so we have this boom, boom, boom. So we can play that little shape in that position as well. And then we have these three down here so we can play these three and that position, which is kind of in between. Okay, so then if we go to the next shape, which is going to be, I would call it position one. You might call it a G shaped and we're going back to the C major, the related major. That's what people name the shape based on. And that's because if I find this C, I have this G shape boom, boom, boom, boom, boom, boom. So it would look like that. Or if I played it, that's this major G shape here now. So that would be a G shaped C major. But I'm looking at the A's again. So we saw that this is one of our pivot points for the A where my pinky is. So that's going to be boom right here in this shape. So if it's on the top string, then I've got my classic bar chord. So you might double this finger to kind of put the pressure on it. Boom, boom, boom, this here, here, here. You can call this an E minor shaped A minor because if it was in open position, it would be these two. So if you pushed that up here, we have that. So that would be this, this, this, this. And the purple is on, I mean the red is on the inside here. And now the red is on the outside here as it overlaps to the next position. This position, by the way, you might play it like this. Sometimes is a nice comfortable way that I'll often play it. And then you have these three down here. So then we go from the position one to what I would call position two. You might call it an E shaped position. Why is it an E shaped position for some people's terminology? Because if I go back to the related major, then you can grab this C up top. And if I lean that forward, you get this bar shape. So if I build a major chord from that C, I get a bar, boom, boom, boom, boom. Which is, you can call that an E. That would be an E major shape because it would look like that up to here. So now you have an E major shaped C major. But we, once again, are looking at the minors here. So we were on this shape. So we had this minor shape bar, boom, boom. And so now we have this A right here. And if we lean that forward, where did my, this one, here it is, right there. And if we lean that forward, we've got a D shaped. So it's going to be this note, the orange is inside here. Now the orange is outside, the orange is outside. And here's the orange right here. So it would be this shape, which is, you could call that a D minor shaped A minor. You might see it more clearly like this. Just playing these three notes, going boom, boom, boom. Because that looks more like a D minor shape when you put it back into open position. But if you play the full shape, it would look like that. So you can reach back to that A. Okay. And then we're going from position two to the position we're working on, position three. Where some people would call a D position. Because if I go back to the related major, a C, that's what they're naming the convention on. There's the C. If I lean forward from this C here, leaning forward to this, to this. This, this, this is our little triangle D shape. But if I lean that back, then we get this, this, and this. There's going to be our shape, but we're looking at the A. So within here on the A, we're back to the octave. That open string is an A, and then here's an A right here. So one way that you might play this A is like this. You can grab this top bit, or you might lean it back like this. So you've got this, this, and this. Now you might call that shape a C minor, a C minor shaped A minor. Why is that? Again, it's a little confusing. But if you took your C position up here, it would look like that. And if I move that up to here, it would look like that, meaning I got my finger here. The third would be here, and then there's the fifth, right? So, but I want to, I want to bring this finger back to flatten it. So now I can say, okay, I have to switch this to my pinky and bring that finger back to flatten it. And then I've got to reach back to this finger, because I had my finger on another A. So I had to reach back to this finger. So that's a little bit confusing to see it as a C, but it is basically a C minor. It's a C minor shaped A minor. And then you can also have that top bit, because sometimes when you play the C like this, you grab the top bit, which is the fifth above it. And that's why you get this shape, boom, boom, boom, which is kind of part of that same shape, which is more comfortable to play oftentimes. And then the bottom part of that shape is going to be here, where you've got dot, dot, dot. And so that's a fairly comfortable shape to play as well. Okay, so those are going to be the colors, our strategy. And remember that each of these positions, we should be able to play everything in each of these positions, because I should be able to play all the chords and all the notes in each of those positions. That's the beauty of the fretboard, but we're only mapping out one chord at a time within the position. So we'll kind of map out how some things you might practice in open position, maybe talk about that more. But it's likely that most people know their open chords a lot better than their chord shapes up top. And the chord shapes they know up top are usually the leaning forward shapes, right? Because the ones that are built on the first two strings and the lean forward. But in any case, so what we're going to do is basically say one strategy we can do is we can go from the open position to the chords we know, and then jump up to our position up here so we can noodle around the thing that we're trying to noodle around while still jumping back to notes that we know in open position. So that's one strategy we can use to kind of focus in a new shape in the dusty part of the guitar and noodle around that. The other strategy we could use is we could of course try to blend our shapes together. Here's what we're working on this shape and then try to blend from the prior shape into the current shape that we're basically working in on following our fingers and trying to find smooth lines. And we could of course go back to the prior shape from that, the prior shape from that, the prior shape from that and use that strategy. So we will do that as well. Now remember that our normal strategy here is like if we were playing, if we were trying to practice the A minor in relation to the scale that we know, which is a C major, we might just put it in the mix so we can say like there's a C, there's an A minor, there's an E minor, and then go back to the C. But we probably want to practice if we're focused on the A minor and how it works, we might want to make it the center, make it the tonic, which means we're going to play around the sixth, making it the center, basically starting and stopping on the sixth. Now it's going to be natural for most people to say, well that means it's an A minor. You should make it a minor or AOLIN mode. And you could totally do that because the minor mode is so common, but it's also useful to see it as another mode. That's all it is, is another mode. All these things are kind of tied together modally. Even the major scale can be derived from the other modes. It's just basically another mode. It's just usually the home bass and western music. So I still want to think of it basically as though we're playing around the sixth and thinking about all of our shapes and chords the same, but making the sixth the tonic. And we'll talk about the modes, including the minor mode and AOLIN, and looking at it that way, which we're just basically making the sixth the one. Everything else basically the same in a future presentation. So now if we were to do that, of course, we'd just start on an A minor. Back to an A minor. It's not too difficult to make the A minor sound like home, especially for most western music people, because it's a common mode to play in. But we could still use that same trick, which you will always see even in the minor mode, even when you're playing any minor, because we don't have the leading tone going back home as we do with the major. So you can kind of cheat. You could say, well, here's my E right there. There's the fifth that I can try to lead back home. If I was to make an E out of a scale I'm in, it would be an E minor like that to lead home. But it might lead home a little bit more if I then add the major. So now I'm going to add that note playing an E major. And you'll hear that often times. So if I'm playing around in a minor, here's an A minor, C, G. And then I'm going to go to the E minor. And I'm going to add it to the major. So now I'm on the major. I just put this finger down. And that gives you kind of more of a leading tone to go back home. And that's basically because this note right here is resolving up to this note. So that's just something that we can always do anytime you're playing the minor to get the best of both worlds for it to be like a minor sound, but also get that leading tone home. All right, so if I go back up to this area, then we can again map out the chords that we have here. Well, let's first just get our ear around the sound of a minor. So what would we do there? We can play our scale, but this time I'm going to stop and start on the A, which is the sixth. But instead of making it the one, which is what we would do if I thought of myself in A minor, I'm going to keep it as the sixth. And I'm just going to go from six to six, right? So I'm going to go copy, copy. And I'm just going to go from here to here and try to name that out in my mind. So I'm not starting my plane up on the D. I'm going to start it down. I'm going to start it down here on an A. So if we do this, we'll be able if we do this with all the different modes starting and stopping on the note, then we'll not only get the shape down in our mind quite well, but we'll be able to play something different because we're playing around different modes, right? So I'm going to start on this A and I'm going to call it number six, six, seven, eight, or one, two, three, four, five, six. So now I'm on this one down here. So that's our six. And then I'll play it up to the F and then back. So I'm going to say this is going to be six, seven, eight, or one, two, three, four. So now I'm on this F, which is four, four, three, two, one, or eight, seven, six. And that gets us back down to here. And then I'm going to keep on playing that down to here. So then I'm going to go, okay, six, five, four, three, two, one, or eight, seven, six. So now I'm on this A. And then I'm going to play it all the way down to the F and then back up again so we can practice the whole scale, even though we're starting kind of in the middle of it. So I'm going to say six, five, four, three, two. So now I'm down to the D. Sorry, I went down not to the F to the D. And then I'm going to say two, three, four, five, six. And so then we ended up right there. So now we kind of get the scale in our mind. So the next thing that we can do is just map out these shapes again. So we have this shape, boom, boom, boom. So if I start on this one, you might say, you might try to lean forward. The natural thing to do is to make a bar chord whenever you make these shapes, which is to lean forward is what I would call. But you also can lean back typically. So we're trying to lean back here into our shape. So we're leaning back from this A and the third. For a minor third is going to be that C. And then here's the E. So once again, that's kind of a C minor shaped A minor. It's a little bit uncomfortable to play like that, but not too bad. It's a little bit easier to play the bottom of the shape here, which is going to be boom, boom, boom. So if I take my pinky up right here and instead put my ring finger down here, now I've got this C, E and A. This has everything for an A minor, but the A is on the bottom, so it is inverted. And I can kind of mute this finger. So I can go from there and then lift up my ring finger and reach up to this pinky up to here. Right, so. So I can play basically those two shapes and then up top, it's kind of comfortable to play this shape, which is on the top three strings, and that's going to be the fifth is above it and then the third is down here. So that's somewhat comfortable to play like that. And then also realize that this A is the octave. So you could play... That sounds funny, because I'm playing the open A way over here because it's a full different octave away. It's all the way down there, but you're still playing basically an A minor. So you can kind of mess with that open A even though we're way up top here and it sounds a little bit out of whack given the fact that the distance between the notes, but it's useful to know that that open A is there as a bass note as you go up and down the guitar. Alright, so now the notes that we've learned just to kind of go over them, we've gone over basically these chords. You might look at it like in terms of the major chords first that we've looked at. So if I look at this C, the C was here, and then we have this boom, boom. So if you wanted to kind of throw that into the mix, play an A and then go to this C. We did that. And then we know that the one four five is this way. So you've got the C, the one underneath it is the four and then the five is over here. You always have that kind of L shape. So one four five. So the F is right here. So we could reach from this F up top. That would be the top half of like a G shaped F major. The bottom half would be like down here that we would have. And then if we go from that F to this G, we have basically an A shaped G, which would look something like this. And so there's our G. And then if we go back up to the minors, we saw that we had the D, which is basically up top. That's going to be boom, boom. So we have this shape here, D minor. That full bar is kind of hard to play. So you could play like these three, which would be this, this and this on the D. And then we had the E, which is basically up top. And so if we grab that E, we've got like that G minor shaped E minor that we can play basically up top there. And then we also said that if you wanted to convert that to a major to lead it back, because that's the fifth of the A, you can just take this finger and move it up, which leads you into the leading tone for the A minor that we'll be talking about. So you can take that E minor, change it to an E major, and then go to the A minor. So those are the chords we can look at, but we're only really mapping out one chord in this position, and that's going to be the A minor. So let's do our other strategy of moving up, jumping from here up to what we want to play in the current position. So let's pick a note. So if I say I'm going to play around that A, and then I'm just going to jump up there and kind of noodle around that A. So we might first say, well, what do I have around that A? So we can say, okay, I have this box again. And so I know I have this box, but now I'm going to try to make this A what I'm going to be focused on. So double stops. I could slide up to that F right there. And I know that these two columns, like I say, are a completely fair game all the way across. So once I get to... I can play everything down from there. I can play everything down from there. And I might end it off on this. An easy shape to end it off on or this. So I've got... So this is an easy... The most important note is probably going to be... Well, hold on a second. It's probably going to be the minor or the third, which is going to be this note. That C right there is probably the most important. They give you kind of the flavor of the minor. So the easiest way, you know, you could reach that just this way to get that third in there. Okay. So let's say we jumped back here and we said we're going to play an A minor. So you might just play... And then jump up in here and say... A minor. Double stop, double stop. A minor. A minor. So A minor. And then jump right to a C. Back to the A minor. So then, of course, we can go below here and focus more of our attention below. And if we go below that A, then now I can keep on going on this A. But now I have this shape, which is double stop, double stop, double stop. So I've got this whole little shape here and then I can reach up basically to this A down below. So these two are going to be my most important notes, the C and then this A. That A... I mean, sorry, the E down here. The E's nice because that allows me to reach up to that full chord right there. And then the C is nice because it allows me to reach that A and it allows me to reach the fifth above it for a full chord as well. So let's try that. So I'm going to say, okay, let's go from A and then I'm going to play my A here and then double stop and then A minor to a C to an A. We could do something like that. We could say, okay, what if I went down to this A down below? So if I go to that A down below, then above it, once again, I have this little shape. So if I'm on this A, so I could go from that A above to above and end it on this shape, which is going to be this C, E, and the A. Or I could go down below. Remember the symmetry of these shapes. Boom, boom, boom. Double stop, double stop, double stop. And then down here, you've got boom, boom, boom this way. Double stop, double stop, double stop. And then also these two whole columns are good to go. So you can think about it as these two columns and then you've got this little extension on the two sides over here, right? So I've got my A I can go down here. Double stop, double stop, double stop. And then I could go to this way. So if I play this triangle, I might convert it to this to get the heavier A on top so it's not inverted. So we got down here, or something like that, right? So if I played an A back here, I could jump up to this A right here, double stop. If I just play this A and that E, that's a power chord. So we can do something like that. We can go to the prior shapes. So I could say, okay, what if I want to end off on this A over here, possibly playing something like this, and then tie that into my prior shape, which is in the E area. So within the E area, we've got this A shape, which is leaning forward from here. So here you've got this as a D shape. So that's going to be this one, this one, this one, and this one. So that's our D shape. You might see it down like this way because that's going to be just the D that we finger in open position. So if I'm here, then I can say, okay, where's my pointer finger? My pointer finger is going to be right there, of course, and I could try to noodle around in this box. So I've got this basically, this box that I'm going to lead in from this shape into possibly getting my pointer finger on that C, which I can then point up this way so I get these three up top. So I can say, okay, well, if I'm starting over here on this A minor, and by the way, sometimes people have a hard time grabbing this pinky. If you don't grab that pinky, you can play just these and then just mute. You can just mute this string and then put the pinky down when you're feeling it. All right, so if I have that, I've got the double stop, double stop, double stop. So you've got an interesting just double stops all the way through this area. So we've got just going backwards so you can do anything within this little chunks. The two things are nice and chunks together for one finger. All right, and so then, of course, we could do the same thing instead of heading up top to this shape. We could head into this shape here or into the shape where we're going E, C, and E I'm sorry, hold on a second. We're going E, C, and A. So... leading up that way. All right, let's move it back. We're running long on time here. Let's say we go from this orange. So now we're going to go back to the red where it's probably our favorite position for an A minor. By the way, A minor is a very common thing to play because it's in a guitar because it fits in the right in the middle of the guitar here and you get this open A. So now I've got this open bar chord which is great. So that's going to be this whole bar chord here and then we have this here and then if I was to piece that out I can play it this way which is going to be that C, D, D which is kind of easy to play. So let's start with the full bar chord and do our normal kind of thing and say, okay, I can move my pointer finger here. It's the easiest thing to move and then if I was to move it up I would be getting into this position up top. So I can move it up to basically get my pointer finger here and then move back down to pull out this shape. So if I wanted to stay up in this register I could do this shape up top. I've got my double stops here double stops here to here so we can play around, you know and then we could say, okay, what if I was trying to get from this higher register down basically to maybe this A down here so maybe I want to get from here down to this A and then turn this forward to get into this little range that we did before so then I can kind of noodle around from up top in my favorite shape here, right? This is most people's favorite shape for position one. And that puts me now into this shape. Now I just slid into this shape which gets me the same problem I had before. I can noodle around in there somewhere. If you start on this shape meaning I'm going to start it playing this way in open position this and then this and this now you've got an interesting flow of not maybe going from your pointer finger but these fingers you can kind of possibly move up although you're in this upper position here like these two. So you could move like these two fingers together from here our coffee is done to here to here right? So I could have my fingers all right let's move it back one so now we went from the G let's go to the A shaped so now we have our A here that's leading up to this A so we could lean that back like this that's going to be this A this C and then this E that's not the most comfortable kind of A shape and we haven't practiced this shape 5 too much so let's just kind of take this shape and see how can I move it into shape number one so I can say all right well my pointer finger my pointer finger would be right there so I can say there's my pointer finger and so I can move that up to here and maybe slide that up into my position number one here so if I was playing something like this I've got here's my pointer finger so I can just slid it up into this A so that I can then play my into this G so that I can move it down to here and play my normal A then I'm sliding it up to this position so I can play my D minor shaped A and then just sliding it up to the next position so we can follow that finger in that way if we played it like that and then let's just go to the full position so I was playing my A over here the normal shape would be my A shape like this boom boom boom boom this one is open so again where's my ring finger if I was to play it in open position or my pointer finger it's on the C now down below so if it's on that C then I could say okay well I know I can move that up to this position and then possibly to this position in my shapes I can say alright if I'm just going to be down here I can take that finger I know I have a buzz on that string I need to fix it but I have it double stops in that position and then I can move it from that position up into this position which I know pretty well so I can say alright let's go from here I have these three notes which is an A I can just say okay I know I have these three now I'm focused on that A below which has this inverted A minor and then I can take my C my fingers right on that C converted to this one so now I'm doing my A minor this way C boom boom moving this way and then I can try to get around to this A I'm going to look at this finger and say how can I get that up to this A so it's pointing forward slide it up boom boom so now I'm in this position so now I'm in this A looking forward there's the power chord right here to pick that one up and again now I've got my pointer finger here so I can go boom boom boom on these to get it up into like that to that C basically so now I'm in here and go and then there's my reach up to these three basically up top alright so there's the patterns on the A now remember with these open strings I really like to play these shuffle patterns and just play with those open strings so we can do this pattern with the A which is quite fun I think which is like you hold down this E and the open A and then go from the E to the C and then I'm going to move up to the next one holding down the F going from the F to the D to rating between A, open A and D and then going from there to the G and then alternating from open A to the E and then going to the next one which is going to be the A alternating from the A double A to the F and then go to the next one which is going to be a B alternating between open A and G and then go to the next one which is going to be a C alternating between open A and A and then you can kind of end it off right there so let's just kind of and then also just in this open position the note behind it is the blue note so that's useful to know so if you play that and I can lift my finger and I can lift my finger up hold on I'm playing this note the note behind it right there is the blue note and I can lift my finger up and also pull up that D get that D so I can play here the blue note and lift my finger up so that would be this right as I'm playing the A and reach this one above it so now I'm going to throw this one in reach it above it so now I'm going to go to the next one up which is going to be this E and then reach up to that D and double so I grab that G and the D and then I'm going to go up here and so now I'm going to go D I'm going to grab this one so now I'm grabbing those two and then I'm going to go up to here and now I've got the double stop on the A so I can go so that's two A's because this one is an A open and then I can grab that F and sometimes it's fun right here to grab this C above it and let go and then I mute it when I let go you also have the fifth right down below it so this is kind of a nice spot to be because then you have those double stop A's so that's kind of like your midpoint and then you can go up to here to do and so now we're going to go to the final A to here and then end it off with this boom boom boom and then you can go back the other way so that's a fun way to just get your strings going horizontal here