 Guitar and Excel, interval and modes, complement and parallel worksheet part number nine. Get ready because it's time for our guitar skills to excel. Here we are in Excel. If you don't have access to this workbook, that's okay because we basically built this from a blank worksheet but started in prior presentation. So if you want to build this from a blank worksheet, you could begin back there. However, if you do have access to this workbook, there's a bunch of tabs down below including the first two, representing the final work, the end product, the numbered tabs, tying into the related video presentations. As we work through the practice problem, the blue tab is where we're going to continue on at the point we started off in prior presentations. So we're building our worksheet here that's going to give us the major scale in a circular format and then also give us the related modes. So we have seven notes that we're looking at because we're looking at a major scale and the related modes to it instead of the twelve notes. And then if we follow the green around, that will then give us the position in the scale, a one, for example, and whether or not we're going to be creating a major or minor chord construction represented by the Roman numeral being capital for a major chord construction, lowercase for the minor. And it will give us the distance both in terms of just absolute distance, meaning we're on that actual C, so it's zero distance away because that's the step we're in. And the P one, which is another way of basically saying that the one tying into the fact that it's the one note in the chord that we're on. And then if I go to the second one, we're on the two. If we built this one, it would be a D, but we're looking at it in relation to the C scale. Therefore it would be the second note in the C scale. The distance would be two notes away. That's what this two represents. And then it's a major second. This two represents the fact that it's the second note in the major scale. And then we go to the three, which would be the E and so on. If we started on the D like we did last time, that would be the red circle. The D now would be number one. If we constructed the chord from it, it would still be a minor chord, but if I look at the interval, now that would be point zero, the step that we are on. And it would be position number one or a perfect first. And then if we go then to the two, that would be the E then. And it would be the second note in the scale now that we're in the Dorian scale. And it would be a major second two notes away. And then if we go to the three, it would be the F would now be the three and so on and so forth. So we left off then on the Phrygian. So now we're just going to continue this process around the circle. So the next one is going to be the three. So I can always just go to the next one over and say this is going to be equal to the one. This is the E. The E is now the one. It's still going to be a minor chord construction. So it's going to be a minor chord. So it's a lowercase number one. And then I need to pull the interval from the worksheets on the right. By the way, the example tab that we had before wasn't quite right on some of the intervals that we did before, you know, on the intro tab on these two tabs. So we're adjusting that a little bit as we constructed here if that was bothering anyone. I hope that didn't bother anyone too much. But here we go. So we're going to go to the Phrygian worksheet on the right and I'm looking for that E. So we're looking for the Phrygian on the right and the Dorian and then the Phrygian. And so here's the E. It would be the one. So notice the one on this worksheet is represented on top. The related position is down here and it would be position one. Over here, I'm not reorientating the worksheet to scoot this one up to the top. We're just recognizing the starting point from here and adjusting the numbering system, right? Let's also delete some cells because I think I can get this right next to it and make it a little bit easier if I delete from BQ to CD. Right click and delete. And then let's make this a bit thinner. And so that makes it easier, I would think. And then I'm going to delete. I'm not going to delete the whole column over here. Instead, I'm sorry, the rows. Now I'm going to delete. I can't delete the whole rows because I would delete stuff to the left. So I kind of move this up. One way you can do that is I can select just the cells up top down to here. Actually, let's leave that header cell. Let's do it down to here. And right click and delete that. And then I'm going to shift them up. So I'm going to shift them up. So boom, we move them up to the top. Okay, so there we have it. And it might even be easier to move these closer to the modes that we're in as we work on the modes. I could test that out. So if I made this a little smaller and like I could hide, I don't really need this thirds. Let's actually hide that for now going from here to here and right click and we can hide that. And then I can see this basically right next to the mode that I'm on and I'm currently on the Phrygian. So let's just take this whole thing for now and just move it down. So it's next to the mode that I'm in. And that'll make it easier, maybe Tal Vase. You were doing it the hard way before. Okay, oh my goodness, that's way easier. Am I right? Look at that. Okay, so now we have it side by side, side by side. Okay, so now we can and then I'm going to make these these long cells. I'm going to make them smaller, which will just adjust the headers. Okay, so I think that works. So now we're over here. So now this is going to be so I'm here now the second note the F is going to be the two, which I could just pull from here. And then I'm going to make this one I'm going to pull from my worksheet on the right now. So I'm going to say I'm in the Phrygian. I'm looking for the F, which is now the two, which is orientated a little bit differently because it was the one up top. Now I'm on the second one over here. I'm going to pull that two. And then I want to pull the related. There's the F here distance, which is now going to be the minor second. So it's the minor second. Okay, so then we're going to pull that in. And so then we're going to say, all right, then if I go to this one, the G, I'm still in the orange area. So I'm going to say this is now the three. And the three is going to be that G. So I'm going to pull in the G up top is that three, which is now a major chord construction. And then we're going to say the G relative to the G down here, we have the minor third, minor third. Okay, so I think that's correct. And then we're going to go up top. So now I'm still starting that at the orange, the E. And now I'm over here. So this is going to be then the four, which is I'm just following that red. So it was four over here. Now the four is over here because we started on this, this one. And then I'm going to say that that's related to the A. So I'm going to say the A up top, here's where the four is up top, if I orientated it this way so the E was at the top instead of on the side. And so there it is. And then we're going to say that the related. So there's the E. So this was the A here. So here's the related A down there. Okay, so there it is. Oh, wait a sec. No, the interval is what I'm looking for. There it is. Okay, and then we're on the B. And the B is now going to be the five. And it needs to be that diminished five. So I'm going to say okay. So over here, the B was right there. So there's the diminished. And then the interval, there's where the B is here. Here's the interval. It's the perfect fifth, which is seven notes away. So and you can always kind of tell where that we hit that diminished. That kind of gives you an idea. That's one kind of easy way to say, okay, wait a sec. Comparing that to the major, the diminished is the seventh one, the last one, the weird one, the Locrian one, right. And now I'm looking here. I find that diminished one on the five when I'm looking at the Phrygian. So that could be a point that kind of sticks out to you when you go through these. But in any case, the next one is going to be the six. And we're going to say that this is going to be equal to I'm looking for the C over here. So the C is right there. So I'll take that as a six. It's going to be a major chord construction. So then this is going to be equal to if I find the C here, then I'm going to say that's going to be this one, which is the minor six note that the minor six is different than the major six over here because it's eight notes away as opposed to nine notes away. So remember that that six after the M represents basically where is in relation to the scale on the seven note scale. And it's usually originally constructed thinking about the major scales, right. And the eight here is representing how many notes away it is in this case from the E when we look at all 12 notes in the musical alphabet. Okay, so then we're going to go back out over here and say this is going to be the seven. And then up top we're going to say if I find the D, there's the seven. And then down here I'm going to say there's the D and the related one is a minor seven, which is going to be 10 notes away as opposed to a major seven, which we can see is 11 notes away. Okay, let's do this. Try to do this a little bit faster. We're taking too much time. You're pulling too much time, man. Breaking your own rules. Alright, so this one's going to be the one. We're going to start in Lydian now. So now the Lydian is the one. So we're looking at the blue stripe starting on the F. So I'm going to pull this whole thing down to so I'm going to let's make this one a skinny, skinny one here. I'm going to take this whole thing and pull it down to related to the Lydian. So I'll go okay. And then let's pull this down. So it's next to the Lydian right there. Alright, and see as much space as I can get. Okay, right there. Okay, so now we're in the Lydian. Alright, so now we're down here. And this is going to be equal to the Lydian. So I'm looking for that F, which is now at the top because it's reorientated the circle. It's the one now. And then the let's make, by the way, let's make this one smaller. So I don't have that wide thing right there. So it's going to squish up the headers, but that's okay. This is going to be equal to then I just did the F. And that's going to be the perfect first. And then if I go one note away from the Lydian, this is going to be the two. And I'm going to say this is the two, which is the G. And that's going to be then this two major chord construction. That two of the G is down here, that's going to be a major second. And so if I go to the third, that's going to be an A, the A is going to be the third. And it's going to be then the third is an A, it's going to be a minor chord construction. And the related interval is a major third away, which is actually four half steps or four notes away. And then we're going to go to the fourth. This is four from this F, which is the B, the B is going to be a that's the one with the dot. So that's the diminished. So diminished, diminished four. And that and then is going to be the B down here is relative to the diminished fifth, which is the odd one, right, which is only six notes away as opposed to seven on a normal fifth, or a perfect fifth, right. And then we're going to say this is going to be then so this is going to be equal to the fifth or fifth. And I'm on a C. So the C on this side is going to be the fifth. And then over here, the interval, if I look at that fifth on the C is down here is going to be the perfect fifth, which is seven notes away. Now I missed the blue stripe over here. So I'm going to pull these to the right and add the blue stripe. If there's not a blue stripe, there's going to be chaos. So I'm going to select these hold control select those blue. I want that color blue, borders, white and center. All right, so this this is going to be then equal to the six. This will be the six. And then the six is now we're on the D. So the D over here is going to be that six. It's a minor chord construction. Here's that six, it's going to be a minor six, which is nine or major six, which is nine notes away. Then I'm going to say the next one is going to be the seven, and the seven I'm on the e now so the e over here there's the seven minor chord construction the interval then if I'm looking at that e is going to be that 11 or a major seven 11 notes away. All right, so there's the and then I'm back to the one. Okay, so now let's go to the next one, which is mixolydian it is now going to be the one the one is now G in mixolydian. So we're going to say then let's move this whole thing down let's move the whole worksheet down. Don't get ahead of yourself. I'm just going to pull this down. You're putting the heart the cart before the horse, and the horse gets angry when you try to tell it to push the cart up the hill with its nose. It doesn't like that. Alright, I don't think you would like that either that's not the way horses do things. Okay, you have to put the cart the horse before the cart. So then we're going to say this is going to be equal to if this is the one. It's a major one now, and the interval on that one is the perfect first zero notes away. Then we're going to go to the two. So now we're on the purple. So we went from the G, which was the which was the one to the two, which is an a now so the a is going to be equal to here's the a it's the two up top. And the interval is going to be equal to there it is here so the related is a major second two notes away. And then we're going to say the three three notes away in the purple it's going to be a diminished type of cord it looks like so it's going to be three so I'm looking at that be once again there's the dot for the diminished and we're going to say that here's the be there so the interval is a major third four notes away. And so then we're going to go and say right so the next one is going to be for the fourth and the fourth is going to be a major chord construction I'm looking at a C now. Okay the four major chord construction the interval away on that four is a perfect fourth which is five notes away. And then we're going to go okay the the five then the five is going to be a minor chord construction so there's the D there's the five if I look at that D down here it's a perfect fifth or seven notes away and then we're on the six and the six I'm looking at the E so the E over here is the six it's a minor chord construction and that E then if I look at the relative down here is a major six nine notes away and then here we have the seven the seven and that's going to be equal to this is the F which is the seven so over here we have the F which is a major chord construction and there's the F the relation to the F is here it's a major or minor seven or ten notes away that brings us back to the one. Now we'll do the minor mode otherwise known as Aeolian if you want to sound fancy if you have fanciness happening and then we're going to say here's the A it's going to be the two minor chord construction and we'll hold on a second we're doing it from the wrong spot let's pull this down the cart is before the horse again you're once again are forcing the horse to push the apple cart up the hill with its nose stop doing that stop doing that it's not how horses or carts work put the cart before the horse put the cart before the horse for crying out loud how many times okay the cart has now been securely placed before the horse and the horse will now pull the cart so we're going to say this is going to be the first and then this is going to be the two so here's the two and the two is is the B so we'll say there's the two the related interval I'm trying to do this little faster here we're running long on time major second two notes away we're going to say the three the three is going to be here and we're going to say this is a major chord construction we're on the C for the three so that's going to be that three right there and the interval is going to be the C is relatively minor third three notes away and then we are on the four the four and the four is going to be equal to we're on the D now so the four is right there there's a minor chord construction on the four there's the D it's going to be a perfect fourth five notes away now we're on the five the five is going to be the E so it's a minor chord construction and the E over here is right there so there's the five and then we're going to say that the five is going to be a perfect fifth seven notes away and then we're down here on the F which is going to be the six and the six is going to be a major chord construction there's the F here there's the F there there's the six major chord construction and there's the F here here it is down here it's a minor six eight notes away and then we have the seven which is going to be equal to we're looking at the G there's the G seven notes away and we're going to say that this is going to be the minor seven minor seven ten notes away it's not seven notes it's the seven okay one more time with the Loki and let's pull this down pull this down we're going to re-hitch the horse here for the next job that has been for the next hill we have to climb and we're going to put this here and then here we have it so Loki and it's going to be now the one one more time the loco one just stop now that one's too crazy to go on no we're going to do it we're going to face the crazy one we're standing up to the crazy okay that's what's happening here let's do this so then we're going to say this is going to be the B and then this one is going to be the perfect first and then this one is going to be the two and this is going to be a major chord construction so this is a C so there's the two right there and this is going to be equal to there's the two that's going to be the minor second which is one note away let's center these looks like I didn't center all of these this one is going to be the three and it's going to be to do it's now on a D so there's the D over here minor chord construction and it's going to be there's the three here's the related three it's a minor third three notes away let's center these that and then here's going to be the four it's going to be the four is an E there is the E there's the four and there's the E and there's the related it's a perfect four or five notes away and then centering that and then down here we have this equal to the five this is going to be equal to we're looking for the F there's the F there's the major fifth and or it's a major chord construction and then we're going to say this is going to be equal to the distance of that F down here which is a diminished fifth six notes away instead of seven that's part of the craziness of low key and that's where some of the craziness comes from that's what makes them crazy we found the gene we found like what causes the crazy that's what causes the crazy I think anyways and then we're going to say this is going to be the eleven is going to be the six and the distance here is going to be I'm on the G that's going to be a minor six eight notes away and then we'll center that and then this is going to be the seven and we'll say that that's going to be equal to we're on the A so the A is going to be the seven minor chord construction and the seven here is going to be a distance of minor seven or ten notes away let's go ahead and center that okay I think we have it hopefully I didn't mess anything up too badly if I did I apologize but you at least see the the idea of how to construct this thing and hopefully how now I'm going to cut this whole thing what I did instead of moving it up I went right click and cut it which is the same thing as dragging it and then I'm just going to paste it up top right here boom and then I'll put a title on it some kind of title so let's call it a compliment mode showing seven notes so put that up here and so then I'm going to I'm going to highlight across this and make this a header right click format the cells I'm going to align and I like to center across the selection boom I'll make it home tab font group will make it black and white I'll make this column a little bit thinner like that and then make this a little bit larger and then let's actually do I need let's should I put like more borders around the whole thing it looks pretty good like that let's leave it like that so that looks pretty let's go ahead and unhide between here and here right click and unhide and so there we have it so there we have it hopefully it's not hopefully I didn't mess anything up too terribly if I did I'm sure someone will let me know and I appreciate that if you do and so next time we're going to continue on and then think about a different project which will look at all seven notes so that we can get a better idea of what these intervals are see with this one it's easy you can see the intervals but it still doesn't make a whole lot of sense because you're only looking at seven out of the twelve notes so it's kind of hard so if we put all twelve notes in a circular format and do the same color scheme thing then that's actually even useful to a good exercise to do so hopefully we'll do that next time if we have the time.