 Guitar and Excel see major A minor pentatonic scale fret number seven intervals. Let's do this, but first, a zen thought to get into the proper mindset. I want you to shut off the logical part of your mind. Okay. Embrace nothingness. You got it. Become like an uncarved stone. Done. What is the sound of one hand clapping? Pizza cake. No answer. Listen up. Okay. Let's try another one. You can pick your guitar without playing it. However, you can't play your guitar without picking it. Ooh. It is time. But what does that even mean? You know, I don't know what it means, Phil. You're not supposed to, you don't even understand. You're not supposed to know what it means. Not knowing what stuff means is what makes you deep, man. You don't even know, whatever. Let's just, let's just play some guitar. 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 did some prior presentation. So if you want to build this from a blank worksheet, you could begin back there. However, you don't necessarily need access to this workbook if looking at this from a music theory standpoint because we'll simply use it as a tool to map out the fretboard. Give us the notes, the chords, the scale that we're focused in on. If you do have access to this workbook there, there's a whole bunch of tabs down below, including the OG Orange tab representing the original worksheet we put together in a prior section, mapping out the entire fretboard, giving us the entire musical alphabet in letter format, number format, combining letter and number format, having a key that can be adjusted with the green cell, adjusting the scale that we are in in the worksheets to the right, the worksheets providing all the notes in that scale, chord constructions from the notes in the scale, as well as interval information and more. We've been looking at the C major scale primarily, and we wanted to first think about open position in the format of chord constructions, which are the yellow tabs now on the left, starting with the one chord. The C major mapped out in open position on the fretboard. We discussed it in detail. We then went to the F, which is the four chord. We then went to the G major, the five chord, the D minor, the two chord, the E minor, the three chord, and then the A minor, and then the six chord, and then the seven chord, the B diminished. We then wanted to jump from open position to the middle of the guitar, learning it now starting from a scale position as opposed to the chords, and then see if we can blend that together to what we learned in open position in the format of chord constructions. And we started to link those together by looking at first that one chord, the key of C, and seeing how we can basically link what we learned in open position to be useful as we think about ourselves in the position five over here, both in terms of a pentatonic and major scale. We did a similar thing for an F, then the G, and then the D, once again, the E, and then the A. Now we're moving up from this position that we had in position five or fret five to the next position up, which I would call position number two. Some people will call it an E type of position because it were naming it from the shapes in the open position. So we discussed it last time just in terms of looking at the position, looking at the fingering of the position. Now we want to spend more time on our interval information. This is the kind of thing I would do like five minutes in the morning if you had time with it, right? The fingering stuff, you still want to have an idea like we talked about on what scale you are in so that you're practicing more than just the muscle memory of the fingers, but you're actually tuning your ear a little bit because you're at least telling yourself where you are, but you might not list out every note that you're playing in that case. That's what I would think of like evening work when your mind is not working completely and you're just like, okay, I'm in the key of C, I'm just going to practice my scale thing. But when your mind is working well, then you might want to go through the scales in detail and start to think about the intervals in more detail in a similar way as I would suggest doing with each chord. So you pick one little project and then say, I'm going to really analyze this chord or in this case, I'm really going to analyze this scale. And the things that we're trying to understand is to try to get separate all the different type of numbering systems that we have so that we can think about them in their proper context so we don't get confused. So for example, let's just list those out. We have the numbering system or some kind of system to number all the notes in the musical alphabet. You could use letters, but you could also use numbers to do that that does have some advantages. We could use a numbering system to list all of the notes that are in a scale as opposed to the musical alphabet. So there's only going to be seven in the major scale out of 12. We can have a different numbering system that will give us more information by having uppercase and lowercase, which will allow us to see clearly or have a shorthand foreseen whether it's going to be a major construction, the uppercase minor construction and little dot I put for the diminished. We have a numbering system for the position of each note as compared not necessarily to the scale we constructed it in, but to the one chord of the chord that we're building. And we can also look at the absolute positions as well in terms of those distances. So those are some of the numbering systems we have to kind of keep straight. Now if we go to the OG tab over here, let's take a look at the OG tab and let's just recap this process because when we analyze how the fingering works on the fretboard, it's really useful if you kind of think of yourself as you're engineering the fretboard and how would you put it together? What is it designed to do? And then when you use it, you can kind of think, you can kind of think of it in context of what it's designed to do, right? So I mean, let's think about the musical alphabet. If we have the musical alphabet here, this is all of the notes of the musical alphabet. So it would be A if you're going up. It's usually A, A sharp B, C, C sharp D, D sharp E, F, F sharp G, G sharp. And if you're going back, you've got the flats, you've got the A flat, G, G flat, F, E, E flat, D, D flat, C, B, B flat, A. Now that's kind of difficult to go up and back mentally to do it. That's why a lot of people in Western music, I think that's one reason that we have all these different words for the intervals because we start to think about things in intervals because it's going to be difficult for us to count up and back sometimes because you have to really visualize what's happening. You can't even use the alphabet tune to say A, B, C, D because you've got the sharps and flats when you're trying to count the absolute notes. But if you number them, which I recommend doing, if you're going to memorize all this other stuff, I think it's worthwhile to remember the numbers because then you can easily, if I can associate the number to the letter, I can easily count them up and back. And if I can switch back and forth between a number and a letter, that gives me a lot easier information to think about the absolute intervals that we're talking about, which will avoid the need to, as we see the scales here, you're going to start to feel like I have to play up the scale with my fingers in order to get where I need to go. If you knew the intervals and numbers, it becomes easier to kind of work things around. So let's just to quick review that. I would say that, and you don't have to do this. This is what I think is useful, but this interval stuff will still make sense, even if you don't want to number your musical alphabet. But if you did, the A would be a one, A sharp or B flat would be the two, the B would be the three, the C would be the four, the C sharp or D flat. Notice I'm not going to have a different number for the sharps and flats because it's the same tonality note and we're trying to simplify things so we can use the intervals. D is going to be a six, D sharp or E flat seven, E is an eight, F sharp or G flat nine, F sharp or G flat 10, G 11 and G sharp A flat 12. So that's going to be our musical alphabet. If I look at the formula over here to construct then the notes that are in the key of C, the formula goes, you might know it different ways. It could be whole step, whole step, half step, whole step, whole step, whole step, half step. But in this case, I'm trying to think of everything as standardized units, which are, there's only 12 notes, right? So it's 12 notes away. So if we can label the four, a C as a four, we would say it's four or a C, plus two gets us to six, which is a D, plus two notes away, gets us to an eight, which is an E, plus one note half step, which is a nine, which is an F, plus two, which gets us to 11, which is a G, plus two goes around the horn, plus two would be 13, 13 minus 12, because there's only 12 notes in the musical alphabet, would give us back to one. One is an A, one plus two is three, three is a B, and then three plus one is four, four is the C, we get back to the C. So that's going to be our formula. We're going to accept this formula, basically a priority, right? Well, I'm not going to get into why the formula, we're just going to say that is what it is, and build, we build our, our notes in the musical alphabet over here from it. So given that we can go over here, and that's what we've built. Let's go ahead and unhide some cells here. I'm going to right click and unhide, and then I'll see if I can hide like past 12. Let's go to here. So we can see a couple, a couple notes up. That'll work. Let's go to here and let's just go to Z for right now and hide that. So now you, if you do this, you could see your musical alphabet. Let's hide again though. I'm going to hide over to here, right click and hide. So now we can see that same formula. I'm going to start the formula right here though. So here's our formula, it's going from C to C. I'm going to right click here and make that green just so we can see it. And then the formula is right here in terms of our holes in half step. So it's going down, whole step, whole step, half step, whole step, whole step, whole step, half step. So that's going to be the general idea. Now you could count this up basically on one string. So if I was to count this up on one string, that's the easiest way to kind of see it because that would be mapped out kind of like it would be on the piano. So to do that, let's go ahead and unhide this again. I'm going to unhide and try to hide from here over just so we can map it out on that one string first. Get an idea of that right click and hide. And then I'm going to say, okay, okay, I said I was going to say it. So now set it. Okay. So now we've got this one. It's a C. And then we're going from here. So here's the C. We're going up to a D then, right? We're going a whole step up to a D. So we go, okay, there's the D and then we go a whole step up to an E, skipping two notes up to an E. Then we go a whole step up to an F. So we go to, I'm sorry, a half step up to the F. There's the F. And then we go a whole step to the G. There we go to the G. And I'm running out of things here. So we go a whole step to an A. Let's just copy this. This one, yellow might throw us off. There's nothing special about the G right now. We go to the A. And then we go to the B. Oh, no, I copied this one. I wanted to copy this one. And there's the B. And then finally, we go half step to the C. So you can see our formula. If you just apply out the formula, you'll get that. And that's basically how it looks on a piano. Because if you had everything, now the pianos is an excellent instrument because it's not like on a piano, you're playing anything on one string. You've got a whole bunch of strings inside the piano. So it's kind of like you get access to the layout as if you're playing it on one string, but you can play multiple things at the same time, which is super cool. But here you can only play the one note at one time, but it looks the format is going to be kind of like you would see on a piano, right? So obviously what we're trying to do with our fingering, then you would think the design and also just realize that we're focused on the pentatonic scale. So look what happened is whenever we have these two notes that are right next to each other, that half step, those are the ones that are removed. And one reason just to give some context on why that might be is because those are the notes that usually are going to give you more tension kind of feeling that's going to try to give you that resolvy kind of feeling. So if you take those out, you've got kind of a safer scale that again, the safer scale is easier to work around. Most likely if you're changing scales to scales or working with others. So working with other instruments and whatnot in a band or something. So those are the two that are going to be removed in the pentatonic. Now, if you're kind of constructing the fretboards, you'd be thinking, okay, well, how can I, I can't play everything on one string. That's economical. So what am I going to try to do? I'm going to try to say, how can I get it so everything is packed into one place within four to five frets, right? And so I'd like to get into four to five frets. I'd like to have a situation where I'm only playing not more than three strings, ideally two strings on the pentatonic scale. And I'd like to have a situation where I'm not having any one string that's stretching more than four frets, right? And those are going to be some of the ideas that we would have. So how could we do that? Well, we might tune our strings then as we go up into, there's a distance of five. They call it a perfect fourth, but I'm going to say it's a distance of five notes, right? That's what it basically means, right? So we're going to say if we had a one minus eight, that's going to give us seven plus 12. It's a five note distance. So if I go from the D, which is a six minus one, we have a five note distance. If I go from the G, 11 minus six, we have a five note distance. This is the funny one. Here's the kink, three minus 11, eight plus 12, because there's only 12 notes. There's a four note distance between these two. That's the weird one. And then the last one, we have the eight minus three. We have that five note distance. And remember that you could go up and back on the guitar. So if it takes me, what that means then is we're going to say, okay, if I have an E here and an A here, how far up do I have to go in order to get to match the string above it, right? So if I say, I'm sorry, how far up do I have to go to match the string below it, let's say? So we're going to say here's an E, one, two, three, four, five. There's the A. So there's the A and there's the A. Here's an A, one, two, three, four, five, and there's the D and there's the D. Here's the D, one, two, three, four, five, and there's the G. Now this is the funny one. Here's the G, one, two, three, four. That's where the kink is. That's where the shift is. It's useful to see that shift because now you can kind of visualize what is actually happening when you're seeing this, right? And so you're going from the B and this one is once again up one, two, three, four, five, and there's the E and the E. Now you might think, well, why are they going five frets out? That's pretty far for my fingering. And the idea would be, well, most things are going to stop after four frets, right? Here's after four frets and then the next step up is going to be most likely a whole step because our formula had more whole steps than half steps, right? So that means that if you have it out five, you can go up to here. That would be four frets out and then this one's going to be a whole step out this way which would be too far of a reach and it's going to be going right from pinky to pointer if it's a whole step out. So that pinky to pointer relationship then is basically a whole step, right? Between all of the strings except for this one, we have a little bit of a kink between the G and the B. So that's the general idea. Now also just realize that if you go five strings up, one, two, three, four, five strings up, you're going to get to the same note as below it. So here's an F and here's an F because there's 12 strings in the musical alphabet. 12 minus five is seven. So if I went seven strings back, one, two, three, four, five, six, seven, I also get to an F. Going back is not, if that interval isn't, knowing that is not quite as useful because we're usually playing up and down this way. So the five interval is what you kind of want to know but it's kind of, but you can, you want to kind of visualize it as a circle more, right? Because the musical alphabet goes around in a circle although the octaves go up. So you can think of it like as a spiral going up but a circle is a nice easy way to think that it's repeating itself and so you can kind of visualize it going the other way. Okay, so given that, let's then hide some of these cells and so I'll hide to here, right click and hide. I probably don't need this. I don't need this row hide, right click and hide. And I don't think I need this row right click and hide. Okay, so then as we do this, we're going to start off thinking of our cell. Let's hide this one, right click and hide as the key of C. So that's going to be our starting point but remember you can do this for any other of the, any other mode although because we're looking at the pentatonic the A is going to be the other mode that you want to look at that will be the related minor. So it's the same notes, the pentatonic scale fits on the major and the minor if you go to like a D for example, you're going to have a note that doesn't fit in the pentatonic but you can still think of yourself as D Dorian starting on the D Dorian and then visualize that note that doesn't fit so that when you're doing chord changes if you're somebody that likes to think of yourself as being in pentatonic instead of switching to the major then what you want to start doing and saying, okay, well what if I play the two chord then what note is in that chord that's not in my pentatonic so I can just make an adjustment to my pentatonic scale, right instead of switching my mind to a full major scale. So that's one way that you might approach things that it seems that a lot of people find useful. Now with the pentatonic, remember the pentatonic has a few other rules. Notice that everything's going to be within four frets on one string. We're never going to have generally more than two notes on a string, which is useful and we're only going to have basically and we're never going to have two notes that are next to each other. So that's a great understanding to have that because now you could just and you could just say, well, this is the short and this is the long. So if I'm going from top to top, top to bottom, I can start to visualize just where are the shorts and where are their longs and it's a pretty nice visualization jigsaw puzzle that you can keep in your mind. Now this when I when I'm growing up here, this was our first position. So our second position, I'm going to start right here and you might want to start it with this finger, but a lot of times people will start to do it with this finger, including me. I tried really hard not to do that last time because I think the proper fingering this way is probably the first way you want to learn it. But because of the hammer-ons and stuff, you're going to start depending on what you're doing. A lot of people will start playing that C with their pointer instead of their their middle. People will get picky on this. Say what what's the best way to do it? You're not doing it right. You know, whatever. So but I tend to use my pointer on that one. So so then we're going to start here. So that's going to be a C because we're starting on the C I'm going to kind of keep that in my mind. So I'm thinking of myself as the C and I might target this C down here to see when I've ended my my process. So I'm going to go from C. So we're up here and I'm going to say we're going to do a whole step to D, right? So I'm going to say, okay, C is going to go a whole step to D. So I might say this is relative position one of this C major scale, which is note for a C. And then I'm going to go up a whole step to relative position two relative position two. So four plus two is six and note number six is a D. Now I know that's really tedious to say in your head. But if you say that in your head, you could see what you're doing, you're saying, okay, I'm telling myself what the scale is. I'm learning the the number of the note and I'm learning basically the interval as I'm going up. And so then I'm going to go. Okay, now I'm going to go from here to here. So now I'm going to bring this down to here. So now I'm going to say, let's have different colors. That would be better. So I'm going to go down here and I'm going to say, okay, so now I'm on relative position relative position two and which is note six or a D and I'm going to go up to relative position three and that's going to be a whole step. So instead of going a whole step out this way, right, I could go a whole step if I'm if I'm on this D to the E here, but that's going to be outside my position and I would have three strings in a row and it would expand more than five frets and I can see that that distance is a whole step. So if I was on my pinky, which I'm not because I cheated because I went out of my proper position, right, I should have started on this finger. If I was doing it properly for frets for fingers, it would be from pinky to pointer, right pinky to pointer would take me a whole step from that D down to the to the next note up, which it would be a whole step away and you could see that because it's one, two, three, four, five, and there's the E up top, right? So then we've got the E down here. So then I'm going to go, okay, now we're going to go down dude and then I skip the four, right, because the four would be that half step and that's what's been removed. So that's the difference one of the different factors between the major and the minor. So now I'm jumping up to the G in the pentatonic. So we skip. So we skip the half step would which would have been here and then we would be going from that to to sorry for what did I do there? And then I would be going from that to here, which would be a G. So now we're on the G. So we went from relative position, relative position three, which is note number eight or an E up to relative position five, because we skipped position four, which is basically three notes of weight away. So we're going eight, nine, 10, 11, note number 11 is a G. So now we're on the G and then I'm going to go. Okay. And now we're going to do a a going from relative position five to relative position six, going from note number 11, which is a G up a half step to note number, I'm sorry, a whole step to note number one whole step to note number one, which is an A. So notice I could go out here right to this a but again, that would clearly be going outside of four frets on one string and it would be three frets or three notes on one string. We're trying to keep it to do with the pentatonic, you could see I'm on the pinky. So pinky to pointer then is going to be here. So pinky to pointer is going to be then to this a. So there we have it. So now I'm going to go. Okay. So now we're going to go to the next one here. So this is going to be relative position six and it would be going to relative position seven, which would be that B but we're skipping that. Why? Because that B the next step up would be the C going home and that would give you that half step going home. So notice that B has been removed. So we're going up to the C. So we're actually going C, which you can think of as a position eight or back to one. Sometimes it's useful to call it eight in one or the same thing. There is no eight really it's back to basically one, but sometimes it's useful to say eight when you're trying to count up. So now I'm going to say, okay, I went from relative position six. I would have gone a half step. I mean a whole step up to relative position seven, but I'm skipping that because I'm on the pentatonic and then the half step to home. So we're going three notes up from the A to the C and so boom to the C and that's going to take me back home. So now we're back home on the C. Now we can do the same thing on the higher register. So now we're starting on the C again. So we're starting over, but in the higher register, we're going to say we're going from relative position one to to relative position number two. So relative position one is C and we're going to go up a half a whole step or two notes to relative position two, which is going to be to a D. Now we could see that we can go to the D outside here, right? I can jump up to this D, but that would be outside of my shape. It would have more than three strings or three notes and one string and it spans more than five frets and I can see it's a whole step away. Therefore, if I go down one and back four or pinky to pointer, then I can get to my D down here. So now we're going to go from here to here, which is going to be relative position two, which is note number six or a D up to relative position three, which is going to be a whole step. So six plus two is eight and eight is going to be an E. So we're going to go up to this E and then I'm going to say, okay, then we're going to go from relative position three, there is no relative position four because we're on the pentatonic. So we're skipping that one and then we're going to go down to the G. So it would have been a half step and then we've got a whole step. So that's our three note jump. So you can see the long jump here going on over to the G and then we're going to pull it back into our position here. Now that's kind of a funny move because because we skipped we skipped a note and it happened on this funny interval because there's only a four different interval between these two strings. So I'm going to bring it back to here. Here's our G and if we see that we could say, okay, what does that do? If I go one, two, three, four strings up instead of five and then up one, we're going to get to our G over here. So you could see basically that interval as well. And then we're going to go from relative position five, which is a G up to relative position six. That's going to be a whole step. So it's going to be a whole step which takes us from 11 up to 12. There's only 12 notes in the musical alphabet back to note number one, which is going to be an A. So there we have that. And then again, we're skipping seven. So we would be going to note number seven, which is going to be a B, which would be out here, but we're skipping it. So it would be, but it would be down to here because the next one's going to be a half step away, which is home, which is going to be a C. So we're going from relative position, basically relative position A skipping, I'm sorry, relative position six, skipping seven up to back to one or you might call it as eight. And if I do that, it would be two notes. And then one note and that's going to give us three notes away. So one, two, three, four gets us to a C and so we're on the C down here. Now notice that the C is the end, right? That's the end. So I could then, if I was playing the scale, I'd probably go up to the D again, but then back to the C because I want to see that C as the end. So as you're playing through the scale, you want to kind of see the C as the end point. So if I'm playing it from bottom to top, I'd want to do the same thing. I probably don't want to start on the D. I want to start on the C and then I could go up and then back just as long as I'm keeping the C as, as the root in my mind, right? And you do that by starting and stopping typically on the root. So then I can go backwards that let's go from the C back. So if I'm on the C, then I'm dropping back. I'm on the one, I would be going to the B, which is a half step behind the C, but instead we're going to the A, which is that three note distance. So we're going back to the A. So that's going to be once again up top here. It's going to be four minus three gets you back to the A for minus three gets you to the A and then we're going to say, okay, and so I'm on this A. So now I'm going from relative position six down to relative position five. So it's going to be an A down to a G. That's going to be a whole step down. So A is a one minus two. It's going to bring you to 12 and then 11 because it goes around the horn. So minus two would be negative two plus 12. You can think of it, but I'm going to say it goes back to 11. So there's going to be our 11, which is going to be a G and then we're going to go from relative position five, not down to relative position four, which would be an F. So we would be going to that F, but we're skipping that F and we're going because I'm going to have five out of the seven notes and we're going to the E. So now we're going to go from here to down to the E. So and that's going to be basically three notes down. So we went here to the E, which is going to be three notes down. So we're going to say it's going to be 11, 10, 9, 8 back up to the E. So we're going to say, okay. And then we're going to go from the E and we're going to bring that back to the D. So I'm on an E and we're going to go from relative position three down to relative position two relative position three is note number eight or an E down two notes to relative position two, which is a D. So we're going to say E minus two is our eight minus two is six and six is going to be a D. All right. And so then we're going to go from the D down to the C. So I should have said here and now we're going to go back home to the C. So and notice the interval is actually that two interval over here. So if we go from relative position two down to relative position one, we're going from note number six, which is a D and we're going down a whole step, which is going to be six minus two, six, five, four and note number four is going to be the C. Okay. I kind of forgot about my finger and over here as I was focused on Excel, but I'll try to stop it there. And notice when you do this, you might want to do this just basically a little bit at a time, right? Part of the part of the scale at a time and my goal here is basically to be saying the number of the note saying the interval that we are in and then being able to basically finger it at the same time. And so that we're kind of practicing all of those things at one time in a not so much of a musical way, but just more of a mental way to try to try to drill these notes into our minds. Now we did it with the C here. We could do the same thing starting with the A. So you could take this and we might do this again, but we could hide unhide this and if I was going to start with an A over here or let's look at it this way, if I if I go on over to my OG tab and I looked at my interval starting on a C then if I scroll down to where we have an A now I'm starting on the sixth note and the intervals are going to be basically I'm using the same intervals that just repeat themselves. But if I start on the six, that's what the mode is. That's what we're talking about with a mode. The the minor mode or A only in mode is the minor mode and you come up with a formula of this to one, two, two, one, two, two, which brings you back to the A. Notice that's the same thing as what we did here because if I keep on if I was to start from that A and then I go down and I get down to this C and I start from here you get the whole whole half whole whole half again. So it's the same thing, but when you're starting when you're when you're doing these scales you might start on the A and then if you start on the A then you're going to use your worksheet on the right and every time you move forward now you're emphasizing the fact that you're starting on the one of the A minor right and then you can go through and do your same fingering but and it's the same thing. It's the same scale. It's just that now you're trying to think of yourself as in the key of a minor all the pentatonic notes will be in the key of C and the key of a but you could do the same thing. For other like you could start on the on the D right if I start on the D I'd have a Dorian and the formula would be you know the two one two two two one two brings you back to ID and so you could do the same exercise but start on ID and then put the relative Dorian worksheet next to you and then you'll start to see the the the positions in that format as well so you can number the relative positions. You might not need to do it for all of the modes if you're kind of playing around with stuff but the major in the minor is probably worth doing. So if you were to do this in the minor I would always kind of start on an A right so you could do that by starting back here and then walking your way into here so that you start on an A or you can start on the A down here and then walk yourself up and then back down to the A right or start your A here and then walk yourself down. So whenever you're using your scale whatever you're thinking about yourself being in you want to start and end your scales from there and that'll make it so you're you're learning the same scales but you're just you're playing them and and you're thinking you're toning your ear to the fact that I'm thinking of myself in the key of A and I'm kicking thinking of myself in the key of C you could do the same for the for the D for example but if you do any other note if I start on a D and I'm looking at the pentatonic scale that's been designed off of the major and the relative minor you're going to have some missing notes but that's still a good exercise because then you can look at the D Dorian and you could say that F is not going to be in here right so I can then say there's my F that's not here so if I want to learn my pentatonic shapes instead of the more convoluted shapes here which are going to be the the major shapes then I can start to some people will just use only the pentatonics and try to try to alter the pentatonics to fit whatever chord they're playing which is not a problem when you're playing the C or the a because you have all the good stuff in there for the most part right although you know you do like that leading tone sometimes but again you add that when you feel like you want to add color to it to give it that tensiony lead in but then if you and then if you go to the D you're going to be thinking okay now I'm going to add that note that's missing like the F that's in my related pentatonic if I'm playing the D Dorian but I'm playing the pentatonic scale I'm missing the F right so you might that's one way you might envision things and then learn your and then you can really just kind of focus on your pentatonic right instead of focusing on the pentatonic and the major I tend to switch my mind to the major though so I tend to say I'm thinking of myself in the major and then I'm going to restrict myself to the pentatonic but well we'll get into more that in future presentations.