 Guitar and Excel, C major, A minor, pentatonic scale, fret zero, otherwise known as open position and fret 12 intervals. Get ready and some coffee, because you know recently, a motley pack of intimidating feminists told me they don't need my stupid guitar lessons. I don't like your cups. I don't like your cups. I don't like your cups. Because a woman needs a man like a fish needs a bike. Like a fish needs a father to teach her how to ride a bike. You know, and I've been trying to come up with a snappy comeback to the mean old feminist phrase. It's like, oh yeah? Oh yeah? Well, a man needs a woman like a bike needs a beautiful lady sitting on it. And that's no good. Hold on. That doesn't sound as snappy mean as the feminist phrase. Okay, I'm going to get you a bike helmet. I possibly possibly because I left out the fish. How about this? A man needs a woman like a bike needs a tuna sitting on it. Especially if the fish is a deadbeat creep. Wait, wait a second. That seems even worse somehow. Ran out of fish. We're not getting far. Wow. Those feminists were even better at this mean phrase thing than I thought. And you already know how to ride a bike, Annie. You know, a man needs a woman like a bike needs a beaver. That's even worse. Must be the war cry of her tribe. That's not good. Whatever you, you win this round. You mean feminists, but rest assured. Hold on. Lookie here. We have a sunken bike at the bottom of the ocean needed by the fishies to lay their fish eggs on little baby fishies riding the underwater bike. That's one fish story no one will believe. Proving both that fish do need bikes or at least some fish and that bikes even at the bottom of the ocean still need tuna to sit on them because arg, if a pirate makes a bike walk the plank, the bike plunge into the bottom of the ocean, the bike will end up sleeping with the fishies. So you see, Phil, my analogy was just as good as the mean feminist people's one after all. And you know, deep thinking like that, by the way, is why is why I make such great music lyrics competing with the classics like like the sound of silence, a tragic tale of a rock star losing his hearing from having the guitar amplifier turned up too loud. We're all just dust in the wind, dude. All we are is dust in the wind, dude. A deep explanation of why people are so annoying, because we're basically just dust blowing in each other's eyes. And of course, the bike sleeps with the fishies, a deep analysis and refutation of mean feminism. But it's a lot better than being departed and defunct. 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 the first tab to get that general overview. We started and are still looking at the C major scale and its related modes. We started by looking at open position, which we defined as frets zero through three, noting that this E represents our fretboard and the heavy string, the one closest to the ceiling. Funnest way to map out the notes of the scale in open position is to create the chords from that scale, starting with the one chord, the C major chord, map it out in open position, discussed it in detail. We then went to the four chord, which also has a major chord construction, mapped it out in open position, discussed it in detail, same with the five chord, then the two chord, which has a minor chord construction as the three chord does, the six chord, and then the seven chord, diminished chord construction. If we were to map out all of the notes for the chords that we have constructed, we would basically be mapping out the notes in the C major scale and related modes, which would look like, in essence, these blue notes in open position. We then wanted to move to the middle of the guitar, starting in what I would call shape one or a G shaped position related to the C major scale and related modes, first learning here, not by chord construction, but rather by scale construction, starting with the pentatonic scale and then adding the two notes to get to the major scale. So we mapped it out in the middle of the guitar and saw how it can connect to the open positions that we worked out. We then focused on each of the notes and each of the modes in essence, although we didn't think about them in terms of modes yet. We'll do that later. Then we went to the next shape up, which starts on fret seven. We can call shape number two or and E shaped same thing. We looked at the pentatonic scale, then the added the two notes for the major scale and discussed it in relation to each note and basically mode of the C major scale. Then we went to the next fret up or the next position up, which is going to be starting on fret number nine, we can call that shape three or a D shaped, discuss the pentatonic the major scale, and then went over each of the notes in the scale for that shape. And now we're doing the same process up here for the shape number four, starting on fret 12, which is actually where the guitar repeats. So this shape is also going to be our open position shape. Now I want to first look at it in fret 12, because that allows us to do the full fingering as we would if it wasn't in open position. And then we're going to go back to the shape in open position and test out the finger in an open position in a way that hopefully will allow us to recognize what the shape looks like. So that when we see it reappearing in other places on the guitar, possibly when we're repeating in a C major scale, or when we're shifting to other scales, we can recognize that shape both in open position and elsewhere. So that's going to be our project. This time, we started by looking at the pentatonic, we will then add the two added notes to get to the major chord construction. And first, however, we want to think about the intervals with regards to this shape. So we fingered this shape, both out here in shape number 12 or starting on fret 12, and in open position. So now we want to go into a little bit more in depth in terms of what the intervals look like. And our goal here is to try to get all these numbering systems more into our mind. This is something that I would recommend doing like in the morning, for example, 15 minutes to an hour possible, to just basically work on separating all these different numbering concepts and relative positions in our mind so that when we're playing, possibly more like in the evening, we'll basically be able to have those seeds planted and then be able to kind of understand them more intuitively. So what are these numbering systems we have to keep in our mind? Well, we've got obviously the notes that are on the fretboard, remembering that this is representing the low or heavy string in our worksheet here. And then so so those are usually going to be listed out by letters. But you can also apply a numbering system, which I'm advocating for. You don't have to do that. But I think it's a useful thing to do, because it'll help you to switch back and forth and use some simple math. We're also going to have a numbering system for the notes that are in the scale that we are in. In our case, the C major scale, we can also think about the different modes, which will have a different numbering system, which will touch more on later, even though they're basically related. We have a numbering system that allows us to see the note in position of the scale. These are kind of like what I would call relative positions. But they also have the ability to have uppercase and lowercase, giving us an indication of whether the chord construction will be a major chord or minor chord major being uppercase, the lower case being minor, and the dot is representing for us a diminished chord. So we have that numbering system we need to deal with. We also have a numbering system that we're going to deal with with relation to each note that we're on and the chord construction from that note. So now if I look at and I build, for example, the the chord from the three note, then I'm looking at it relative to this position, when I'm thinking about the 135, I'm thinking about the 135, as though this is now the one. So you can see that's kind of a different kind of relative position. When we're mapping out the chord construction to a note in the chord, that we have to keep that straight as well. So let's just do a quick recap of how we basically build our worksheet and how we build our scales. And then we'll go into fingering through this and looking at each of the of the intervals between each of these notes as we map it out. And as we do that, I'd like to build in my mind a way that I can basically finger through this learning the fingering, and also learning the counting system, and the intervals doing as much as we can trying to get the language just precise as we can, so that we can practice as much as we can in a small amount of time is the kind of the objective. So if I go back to the og worksheet over here, you will recall that the musical alphabet basically is just going to be the alphabet, but the sharps and flats kind of mess things up, right? So if I if I was to count the musical alphabet, it's just a through g, but then we have these sharps and flats, right? So if I was to count it, say A, A sharp or B flat, B, C, C sharp or D flat, D, D sharp or E flat, E, F, F sharp, or G flat, G, G sharp, or A flat, and then A it starts over again. Now, that's not too bad to learn what those sharps and flats are, but it's quite difficult to count up and back on the musical alphabet. It's hard just to count backwards in terms of just the alphabet start go from G back in your mind G F E D C B A, you can do that with time. But then when you put in these sharps and flats, and then the idea that you have to use a sharp or flat, it starts to get kind of messy and confusing. So if you were to number the system, then you can count up and back and you can use some simple math. That's why I recommend also applying the numbering system and being able to code switch between the absolute number. This is not a relative position, the absolute number of a note, and it's lettering. So an A is a one A sharp or B flat is a two. I'm not going to distinguish in this case between a sharp and the flat. The sharps and the flats do have their reason and rationale when we start to construct like chords from them. But again, that's why we get the best of both worlds if we can code switch. So then we're going to say a B is a three, a C is a four, a C sharp or D flat is a five, a D is a six, a D sharp or E flat is a seven, and E is an eight, an F is a nine, and an F sharp or G flat is a 10, a G is an 11, G sharp or a flat is a 12. So now I can count up and back quite easily if I'm just counting up and back the alphabet. And if I want to look at the interval between two notes, I can use simple math four minus eight, for example, giving me the interval between note number four, a C and note number eight on E. Then we can apply the formula to get our worksheet, for example, on the right, which is basically mapping out all of the notes in the C major scale, which we could see down here, the C major scale here. So how do we do that? Well, we apply the formula. And why do we apply the formula? We're going to take it a priori. It's just that's the way it is. This is the formula for the C major scale. So we're going to say it's whole step, whole step, half step, whole step, whole step, half step. And that's going to be the formula. So if I apply that out, I can use my numbering system. And a whole step means two notes. So if I see C as note number four, absolute position for four plus two is six, that gets me to a D six plus a whole step or two notes is eight, that's going to give me to an E eight plus a half step or one note brings me to nine, nine is an F nine plus a whole step brings me to note number 11. Note number 11 is a G 11 plus a whole step brings me to 12 and then to one back around the horn because there's only 12 notes or 13 minus 12 notes gives me to one note one is an A. And then one plus a whole step of two is gives me to three three is a B. And then the three plus a half step brings me back home to note four, which is a C. So that's how we can see this system gives us seven notes here in our scale out of the 12 notes. So that's what we're working with within our worksheet. This numbering system is giving us relative positions relative to the starting of the scale in this case, of course, that being a C. So given that, then we we now want to basically map this out on on the pentatonic scale over here. Let's first map this out on like our our fretboard this way. So the easiest to see these notes in our scale is to map it out on one string, which is basically what a piano is doing, right? So if I mapped it out from C to C here, it would look like this, this would be the major scale would be C or note four whole step to a D, and then whole step to an E, and then a half step to an F, and then a whole step to a G whole step to an A whole step to a B, and then a half step to a C. Now when we look at the pentatonic scale, we're removing these ones that have the half step in there. And that that half step gives the a lot of tension, which again, is going to give a place where problems can happen tension can be a bad thing, but it also is the thing that gives a lot of flavor sometimes. So by removing these notes, you're kind of removing the likelihood that you're going to hit something messy, right? So that's why the pentatonic scale might be a little bit easier or more forgiving that way. When you're noodling around basically in the pentatonic scale, you don't have those basically half steps. So that would be the idea for the pentatonic scale that we're going to be focused on this time. And then note the issue here is that we don't want to have to play everything this way. We want everything to fit in like a one to four shaped position so that we can play everything in one shape, that's going to be the idea. So how do we do that? Well, obviously the mapping of the guitar is such that it's saying, Hey, look, when you go down to the next string, we need to know when we go down to the next string. And basically, the idea is that pinky to pointer is going to be is going to be like the whole step, right? So if I was fingering fret zero through three, the next one up is usually a whole step. So they tuned the guitar going from if this was my pinky to the pointer, it wouldn't be my pinky because I'm in open position. But if it wasn't in open position, pinky to pointer would be the A. So a whole step is pinky to pointer. And you can also see that what's the interval there? Well, if I go from this one, two, three, four, five notes up, I have to go five notes up to get down to the next string. So instead of going up this way, we go down to the next string here. The only difference on that is when you go between these two strings, where it's going to be one, two, three, four notes up, and then it goes down to the next string. So instead of pinky to pointer, we're going from, I guess the ring finger to go down to the next string, that's the kink in in the tuning that we need to be aware of. So by doing that, then, when we count up these scale shapes in a particular position, we want to be able to say, oh, if I get to this G, and then I go to this A down here, instead of going over to this A, let's make this a different color. Let's say, hold on a second. Where's my ribbon? Ribbon, I need you. Oh, that's the wrong thing. Let's try it again. Ribbon and shape and shape outline. So we're going to say, okay, so if I go if I if I if I'm going from this D, to the next shape, instead of going to the E over here, I'm going to the E down here. It's useful to keep in our mind that we know what the interval on that is. It's a whole step, right? It would have been a whole step to go this way. Because I'm going pinky to pointer, I'm going whole step down so I can analyze my shape by saying, okay, obviously that's a whole step. But what happens when I go down here? It's a whole step because I went from pinky to pointer, half step, whole step. And then what happens when I go down here from this position, well, it's a whole step, it would have gone up to here, pinky to pointer is a whole step, whole step, half step. And then if I go down to there, whole step, because it would have gone a whole step up this were whole step down to here. And so on. But then there's a kink in the tuning between these two, right? So that f would have been a whole step up to here. But instead, it's a whole step to here, it's not going pinky to pointer. It's going from like, you know, if that was the ring finger to pointer, right? So that's going to be the general idea. So then when I start when I when I start to map these out, I want to keep that in our mind. Now, note that we're looking at the pentatonic shapes this time, which means we're looking at only five of the seven notes in the C major scale, the pentatonic shape you will recall fits beautifully in the C major and its related mode. So the Ionian and the minor scale, it doesn't fit as perfectly in the other modes. So if you switch to a Dorian, or any of these other ones, meaning you make this basically the root, then this pentatonic won't fit perfectly within it. But you can kind of use the pentatonic still as your starting point and augment it to the note that you're going to need because you're going to need either this F or this B possibly are going to be important so that you so that you can augment your pentatonic. That's one way people think about it. Or you can just say I'm going to switch to the major scale, and we'll talk about the major scale in a future presentation. So once again, we've mapped out the green notes represent the pentatonic scale. We've mapped these out in open position before, but with we didn't map out a scale in open position, we just mapped out the the chords. And now we're going back and looking at the scale shape in open position, we mapped out the scales in chords and what I would call position one or G shape position, and then position two or E shaped position three or D shaped. And now we're looking at position four, which is where the guitar is repeating. If we look at a C major scale, and it's related interval. So we'll map it out here where we can do the full fingering. And that's why I'm going to try to do this with an electric guitar, since even though I haven't been playing with it as much, I need to get the new strings on it and whatnot. But we'll map it out here. And then we'll also see it here with that different fingering. Okay, so let's go to the next tab. That's what we're going to do here. So now what we have, we're going to start looking at it in relation to the C major. Now remember, you can also look at it with its relative minor, which we might like touch on. And then it but any other mode is a little bit more tricky to look at this scale with, because again, we're missing two notes that are probably going to be vitally important to the to looking at the intervals in the other one. So we're going to mainly focus on the major scale. Down here, what we have are the intervals. So this is called a P one as a perfect first in an M two is a major second, we'll talk more about intervals in a second in another section. But I want to basically introduce the concept of intervals now and try to get an intuitive idea of the intervals in our process. So what I'm going to do is I'm going to start on the C and this position, and then we're going to count up and I've made a tab down here, so that it'll basically just go to each of the new positions. And basically map it out for us. And so we want to go as we finger through it, I'm going to try to put an exercise in my mind to say as much as I can about what I'm doing, so I can kind of cognitively process what I'm doing. As I go through the scale and I want to try to cram as much information into that cognitive processing as I can, trying to get more and more specific about the language, making it easier for me to cram as much as I can into that process. Okay. Position noting that these two shapes are the same, but the nut throws off our fingering in open position. We're going to start on the C, which is going to be the root of the scale we are looking at remembering that as we finger through the scales, we would like to be starting and stopping on the root of the scale that we're focused in on. So if I put my finger on that C, then I'm going to start off by saying in my mind or out loud, if possible, that I'm playing a C major scale. This is the first so relative positions, I'm going to identify by saying the first, the second, as opposed to one or two, that's going to be the general convention. So if I say the first, I mean, it's the relative position, the first position relative to the C major scale. So I'm going to say I'm starting off on the first position of the C major scale. The first position of a major scale has a major chord construction, which I can see with this letter in here. I could actually finger the major chord construction if I wanted to in this position, but I'm not going to do that every time here. And then I'm going to be moving from the first to the second. So if I go from the first to the second, it looks like here I'm going from this position to this position in our worksheet. And then I'll say in my mind that that's going to be a whole step, which we can see by this two notes here, it's going to be a whole step going from and I'm going to number the notes now going from note number four, note number four, five, six, two note number six. So now I'm trying to get the absolute numbers of the notes in my mind and be able to convert code switch between the numbers and the letters by then saying that note number six here, then is also called note number D. And therefore the D, I'm going to say is the second. It's the second represented by this number two of the C. I'm going to hit that when I say C of the C major scale. And then I'm going to say that the second of a C major scale or any major scale hasn't has a chord construction of a minor second, which I can see indicated by the lower case here. So and I could then finger the minor chord, but I'm not going to do that now. You can add that into your routine if you want. And then I can say that the the second of a major of any major scale also has an interval of what we're going to call a major second. That's what this is saying right here. So you could see this interval going from here to here is of course a whole step because it's going from pinky to pointer. And also if I think of it as the absolute distance of the relative position, the second to the first, which is the same distance in this case, because it's the second, then it's going to be this is representing a two note away absolute position. That's what that two represents. Upper case means it's going to be a major versus a minor second. So this is going to be what the interval is. It's a it's a major second. And then I can play it and try to get that sound in my ear. So it's going to be a major second. And so then I'm going to move up to the next one. And I can say okay. So now I'm going from this, this orange represents the last green one in our box to where we are here. The red represents the root positions I'm going from here to that root position. I moved down to relative position three, which is a whole step represented by this two. And here's the three that were represented here going from the two to the three. So now I'm going to say okay. So now I'm going from the second of a major scale to the third of a major scale, the second of a major scale to the third of a major scale is a whole step. And I'm going in this case from note number six up to two notes because it's a whole step 678 to note number eight. And code switching note number eight is an E. And therefore the E is going to be the third of the C major scale, right? It's the third of a C made and the third of any major scale has a chord construction of a minor third, right? And the third of the major scale has an interval related to the first, not related to the prior position. It was a whole step from the prior position. The third related to the first has a four note away. So it's four notes up if I counted C whole step four would be whole step to here and into here or two two four notes away is a four note away and we call that a major third. So four note a major third is a four note away and then I get that on my ear to try to get that sound in my ear. So then we're going to go up to the next one I'm going to say okay next one notice that in the pentatonic we skipped the fourth. So when you're looking at the pentatonic you have this other kind of question do I want to number the notes in the pentatonic in accordance to a five note scale one two three four five relative positions or do I want to number them in relation to the major scale in which case you're going to eliminate the four and the seven that means the pentatonic scale is one two three five six. So that second one is useful to do because then you're thinking about everything in relation to the major scale which is what most people kind of basically do in western music it's a little bit more difficult to count that way because then I have to say okay one two three five six and skip two numbers eight and then go from eight six five three two one but if you're able to count that way then you can naturally switch between the major and the minor as opposed to going one two three four five and in which case you could do that and that's easier to count up and back but it's not going to fit perfectly in the the the structure of the major scale which is again it's the scale we typically use in western music so now we're going to go from uh we're on this G so we we're on this E and now we're skipping up to this G so now I'm going to go from the uh the we're going from the third to the fifth because we skipped the fourth and going from the third to the fifth is going to be three notes away there's the one plus the two it's going to be the three note away because we eliminated in essence that half step and I'm going from note number uh note number eight plus three eight nine ten eleven to note number eleven and then I'm code switching saying note number eleven is a G and therefore G is going to be the fifth of the C major scale and the fifth of a major scale has a major chord construction and the fifth of a major scale has an a position or a distance of seven note away and we call that a perfect fifth a perfect fifth means it's seven absolute distance or notes away which sounds like this so then I'm going to say okay and my guitar I know my strings aren't great I should I need to kind of adjust my guitar but is on the end so then we're going to go to the next one and go so now we're going from the last G to the A and so that's going to go from relative position the the fifth to the sixth going from the fifth to the sixth so I was on so going from the fifth to the sixth is going to be a whole step going from number notes absolute position 11 plus two 12 and then around the horn to one and then code switch number note number one is an A and therefore A is going to be the sixth of the I'm going to reach up here of the C major scale and the sixth of a major scale has a minor chord construction and the sixth of a major scale has an interval of nine absolute notes away which we're going to label that's called nine notes away it means it's the major sixth a major six is nine distance nine notes away sounds like this try to get that in my mind okay so I'm gonna go all right so then let's go to the next one so now we're going from this last position an A to the C once again we're skipping a note here because we don't have a seventh so we're going to the eighth or back to the first so we can call that first an eighth of the first back to the C and it's going to be three notes away because we're skipping that half step so so now we're going to be going from we were on this A so we're going to say we're going from the sixth to the eighth or the first which has an interval of three which is going from note number one plus three one two three four to note number four and so note number four is code switching of absolute note four is a C and therefore C is the eighth or first of the C major scale and the first or eighth of a major scale of course has a major chord construction and the interval is going to be a perfect first or we can call that the octave and that's what the octave sounds like right and so then I can go to the next one and say okay we can keep doing this going up I might have to cut it short because I want to do the same thing in the open position but we can now say okay let's go from the C here now I'm in the the first I'm going from I'm on the C major scale I'm going the first of a C of a major scale to the second of a major scale which is a whole step and this case going from note number four up to notes to note number six code switching note number six is a D and therefore D is the second of a C major scale and any second of a major scale has a minor chord construction and any second of a major scale has an interval of a two note away major second which sounds like this okay and then and so then I'm going to go to the next one and say okay now I'm going to go from two to three so now I'm going to go from the the the second to the third and that's going to be a whole step going from the second to the third is a whole step and that I'm going from note number six up to to note number eight going from number six to note number eight note number eight is an E and therefore E is the third of the C major scale and any third of a major scale has an interval of a four note away major third which sounds like this and I also note that the third of a major scale has a chord construction of a minor third and then I'm going to go okay so now I'm going to go from the third to the fifth because we're skipping the fourth which is three notes away going from note number eight nine ten eleven to note number eleven note number eleven is a G and therefore G is going to be the fifth of the C major scale any fifth of a major scale has has a chord construction of a major chord and any fifth of a major scale has an interval of a seven note away which we call a perfect fifth perfect fifth means seven notes away sounds like that right and then we can do the same thing going backwards so so I won't do the whole thing because I want to go to the next one but if I go from this C and go backwards I can say it's a little bit tricky in our worksheet to get in your mind at first but now I'm on like the eighth and I'm going to go back skipping the seventh to the sixth or you can think of it as we're on the one and we're going back to the six I'm highlighting where we're starting and we're going to be ending on the next one the sixth and that's going to be our three note away one right so now we're going to go okay so I'm going from the I'm going to call it the eighth and then so I'm going to go from the eight to the sixth which is three notes away starting on note number four four minus three is going to be one and code switching from a one to the letter A and therefore that means that the A is going to be the sixth of a C notice the C is a higher in pitch this way so I'm doing the comparison kind of backwards when I'm walking it down you can compare this A to that C you can compare the A to this C so I'm going to try to compare it to the one higher in pitch I'm going to play it from bottom to up when I try to hear that interval so so now I'm going so so this is going from and so we know that then the A is going to be the sixth the six has a minor chord construction and the six has an interval of down here the nine note away which we call a major six which I can play up this way I'm playing the lower C first and then you can also uh compare that then to the C up top you can kind of compare those intervals now we're running long on time so let's try to do the same thing in open position here so if I go back over here the open position is like this if I was to think of the fingering as though I was fingering the nut we would have the same thing but I don't because I only need my first three fingers up here so then I'm going to do my my same kind of work as I did up top but I'm going to try to convert it and recognize that this is the same shape even though my fingering is different right so now I'm going to start on the C and I'm going to say okay here's fits beautifully in my in my fingering here on the guitar and we're going to go from the first of a C major scale to the second of a C major scale so I'm going from not from pinky it would be pinky but instead because I'm in open position it's ring finger to open position right so from from open position it's ring to open it's going to give you that whole step so now we're going to go from the first to the open which is the second and I'm going from note number four plus two because it's a whole step to note number six note number six is a D and therefore D is the second of the C major scale any second of a major scale has a minor chord construction any second of a major scale has an interval of a two note away major second which sounds like this so I got that sound to ring out and then let's go to the next one second which was the open D whole step up to the third so we're going to go from the second to the third which is a whole step going from note number six up to six seven eight code switching from note number eight to note E and therefore E is going to be the third of a C major scale any third of a major scale has a minor chord construction any third of a major scale has an interval of four absolute notes away from the first which we call a major third which sounds like this and then we can go to the next one and say okay we're going up now to the next one we're skipping the fourth so now we're going to be going from this third that we had to the fifth so that's going to be three notes up now because we're skipping one of them that was that half step if it was the major so now we're going to go from the we were on the third going up to the fifth which is going to be that open G so we're going to go and that's going to be three notes away so we're going from note number eight plus three eight nine ten eleven gives us that open G therefore uh the 11 is a G and therefore the G is going to be the fifth of a C major scale and any fifth of a major scale has a chord construction of a major chord any fifth of a major scale has an interval of a seven note away is what we call a perfect fifth okay and then we're going to go from there we're going to go from the fifth to the sixth so we're going from that open G to the A so we're going a whole step from note 11 to note number 12 and then one back around the horn to one code switching note number one is an A and therefore A is going to be the sixth of a C major scale any sixth of a major scale has a minor chord construction any sixth of a major scale has an interval of a nine note away which we call a major six which sounds like this so we're trying to get that in my mind and then we're going to go okay so now we're going to go from the sixth we're skipping the seventh to the eighth so we're going from this A here to the C so we're going from note number one plus three notes away one two three four to note number four note number four code switching from a four to a C is a C and therefore C is what we can call the eighth or the first the octave of the C major scale any first or eighth of a C major scale or a major scale has a chord construction of a major chord construction and the interval is a 12 note away octave so then we can keep on going up and I can go okay now I'm going to start from that C and say we're going to be going from the first I want a C major scale going from the first of a major scale to the second of a major scale is a whole step going from note number four up to to note number six note number six is a D and therefore D is the second of a C major scale any second of a major scale has a minor chord construction any second of a major scale has an interval of two notes away it's a two note away major third which sounds like this and then I can say go to the next one and say okay now we're going to go from the second the the second of a major scale to the open third of a major scale which is a whole step going from note number six up to to note number eight note number eight is an E and therefore E is going to be the third of a C major scale any third of a major scale has a chord construction if a minor chord construction any third of a major scale has an interval of a four note away major third which sounds like this and then I can go from there to the next one and we can say okay now we're going to go from we're skipping the fourth so we are now going from the third whoops hold on open third to the fifth so third to the fifth which is three notes away so we're going to say we're going from note number eight plus three eight nine ten eleven note number 11 code switching is a G and therefore G is going to be the fifth of a C major scale any fifth of a major scale has a major chord construction any fifth of a major scale has an interval of a seven note away which we call a perfect fifth and then again we can do the same thing basically counting it backwards which I highly recommend doing because then you'll see the inverse of the intervals but we'll get more into that basically later that's just the basic idea to try to cram as much as you can and language is important because you can cram more in if you can get your language as specific as possible and try to keep straight all of these different numbering constructions that you're doing as you're walking up and back so you can kind of practice switching your mind from saying I'm doing a relative position here relative to what right when I start doing these different melt numbering systems okay and that's and then we could do the same thing with an A which is which is obviously another place where the pentatonic scale fits perfectly and we could think of it when we think about the A as though we're going to see it as though it's the sixth of the major scale and then we can count through basically these intervals thinking of it as the sixth but clearly the reason we have the modes is that we can convert the sixth to the first and then basically apply these same five out of seven notes but now in accordance with a minor scale which is basically a different mode and so that so we'll talk more about that later when we get to the kind of modal ideas but for now just note that you can of course count through the this this scale starting on the A and use these same five notes the pentatonic scale fitting in there beautifully but when you start thinking about the relative positions oftentimes we'll have to think of it modality modal wise switching the sixth to the first so we can do that with the sixth beautifully with these five notes but we can't do it again as well with all the other modes starting here the Dorian and so on and so forth because again these two notes that we're taking out will be crucial to the chord construction of of those those other those other modes so we'll talk more about modes later but again good exercise just to go through well next time or later we'll do the whole similar process adding the two extra notes so that we can do this this process with the major scale as well