 Guitar and Excel, interval and modes complement and parallel worksheet part number 8. You know, many guitarists fail because they're so focused on the idea that the show must go on. They miss the more important point, that the rock star must go off, you know? Like, you don't want the audience being like, what's that guitar guy going on about up there? What's he going on about now? Good names. Yeah, the show must go on. No. No, that's not good enough. That's not good. That kind of sayings for slackers. The show must totally go off. That's what I'm talking about. You rock! So let's start going off on 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 end product, the final work we're putting together. The numbered tabs tie into the related video presentations so you can work through them on a step-by-step basis. The blue tab is where we're going to work here. It's going to start where we ended off last time. Let's do a quick recap of what we have done thus far. Notice that we're making two tabs here, a complement mode and a parallel mode. So we basically ended off on the complement mode a little bit ago on the tab 3022. So let's start our recap over here. So on this tab, we started basically by just listing out the musical alphabet. So we had A, A sharp B, B, C, C sharp D, E, and so on and so forth. We then numbered the musical alphabet. We then put the numbers and letters together. We then created a key which will adjust that musical alphabet if you think of it as a circle to the starting point of the scale that we want to be in. In this case, a C, but we could change it here to like a G, for example. But we'll keep it on the form. And then we have our measuring tool that we put next to that starting point. First, the easy way, just saying zero, one, two, three, four, five, half steps up. And then we did it the more confusing way with the more confusing names of those intervals. So we're just naming the intervals instead of five notes up. We're going to call it a perfect fourth, right? And then we basically put a symbol for them so that we can abbreviate. And then we put the total distance together with the symbol. So then we took that scale that we're in, the four and the C. We applied the formula for the C major, whole, whole, half, whole, whole, whole, half to construct our worksheet on the right, which gives us the seven notes out of the 12 notes scale and provides us with the chord constructions. So then we did a similar process down below, but this time it measures in terms of the intervals. So now we can look at this worksheet and we can look at the related worksheet, which will tie all of the intervals to the one note in the scale, not into each of these chords. If I want to tie into the one note of say the two chords like the D, then I can go into the related modes that we put on down below. This is the Dorian mode and now all of the intervals tie into the D. We then put our worksheets on the right together, which are the fretboard, the fretboard in terms of letters and numbers, and then in terms of intervals, this being the major scale, same process, this being for the Dorian and the related modes on down below. So we got all the modes on down below and the modes are going to be the related modes or the complement modes down below. So the root note is going to change, but all of the notes around it will be the same in essence. We put a circular format of our scale together here as well and the circle of thirds. We then looked at a situation where we wanted the parallel modes. So we copied over the worksheet, we have basically the same construction, but now we just changed it so that when I go down to the Dorian, it's still a Dorian, but now it's the C Dorian, so the C is always going to be the one note in the scale. Okay, so now I'm going to house this new project and you could do this new project on just a blank worksheet if you want to, but I'm going to put it next to where we put the complement modes. So we left off last time on these complement modes so that we had the Dorian underneath it and so on and so forth, and then I'm going to put this new worksheet on the right. Now again, if you just want to do this as a project in and of itself on a different tab, you can, but I'm trying to minimize the number of tabs that we have here and have everything kind of in one place. Okay, so this is going to be another one of these circular projects. So I'm going to try to move it out in the boonies over here somewhere and try to see if we can make this circular thing work. So I'm going to say, okay, let's go from BQ and I'm going to go all the way to the right and make these a little bit skinnier and so that we can see them in one spot. So there we have it. And so then let's go like see if I could just go like right in the middle of this thing and then I'm going to go down to like, I don't know, let's start it out here, down here somewhere. I'm going to say we're going to start with the C. So this is going to be equal to and I'll pick up the C from our wheel over here. So I'm just going to pick up the C from our wheel. And so there we have that. Let's see if I can try to figure out how many cells I want to make this go down one, two, three, four, five, six. So let's go like one, two, three, four, and then over one, two, three. So then I'm going to just space out my D over here. So I'm just going to pick up the same wheel as our starting point. So the D and then like one, and then I'm going to go down like one, two, three, four and pick up an E. I might have to move these around a bit later, but I'm doing my best to space them out properly. One, two, three, and then four, and then over one. Let's put that F here. So there's the F. Now notice I've got these long header columns. I'm just going to make the column smaller, which will kind of mean you won't be able to see all of the header on the related cell to the left. But that's okay. So that's okay. We're okay with that. And so then I'm going to go one, two, three, four. Let's make this the G, the G, and then I'm going to go like one over and then one, two, three, four up. And let's make this the A. And then I'm going to go like, I'm just going to tie it out to that D here. So this is going to be the B. So hopefully that's sufficiently spaced out for us. So we just got this same circle. We just put our musical seven notes in the key of C in somewhat of a circular format. That's going to be our starting point. And so the next thing I would like to do here is I'm going to do the same numbering system. So we're starting off with the same thing here. So we'll say this is the one. So boom, it's a one. And this is going to be the two and it's a lower case. And we're doing the Roman numeral two. So we're starting with the same thing here. Roman numeral two. And if you're doing this by scratch, from scratch, you could just type these in here. And if you want a two, you can say Roman and that'll give you a two. But if you want a lower case, you say that it's going to be lower Roman two. Oh, there it goes. So you can do that or you can just type two I's if you want, but that's not the cool way to do it. But if you want to be if you if you want to do it that way, fine, fine. I guess it works. But the formula, the formula, the F is going to be pick up the F. The F is going to be here. And then the G is going to be five. And then this is going to be the six. Hopefully I got all of these correct because I was kind of. And then this is going to be the seven. Okay, so there we have it. So now we've got our circle, the one the two are representing minor chord constructions. That's what the lower case means. And I kind of like this circle to because I get the 145 like on the top and the bottom when it's built like this, which is kind of nice because those are the ones that are going to be the majors indicated by the uppercase Roman numerals. And then the ones on the side are the lower case and then you've got this diminished with the dot. So I was actually going to number them as well. So I'm actually going to push these all to the right. Let's push this to the right one. I'm going to say let's just pull this over to the right and then let's pull this one. I'm going to pull this one up, get them all going the same direction and then pull it to the right. Pull it to the right. That didn't pull pull it to the right. Pull it to the down. Pull it to the down. Okay, and then I'm going to I'm going to put a one again. You could just put a number one right now, but I'm going to try to pull it from what we've built over here somewhere. And so I'll try to pull it from our numbers over here. So there's the one I'm going to call this the two equals the two. So there's the two and I'm going to call this the three. And so we're going to say that's the three. And then this is going to be the four. So this is the four and this is going to be the five. So we'll say okay. This is the five and this is going to be the six. And so we'll say this is the six and then the seven. So this is going to be the seven. Okay, so there's our numbers. We can see them in plain number format and Roman numeral, which gives us that added that added bit of it being the the chord being upper or lower case. We also want to add the interval now and we can do that over here. So add that from our interval circle and I'll put that on the right. So this is going to be the position one. This is going to be P1. Here it is position one or zero notes away because we're starting on the C and this one then is going to be the two. Or otherwise known as the major second. And this is going to be the three, which is going to be the three to do, which is going to be a major third. And so I'm going to say okay. And then this is going to be to put this up here this time. What I'm down here on the F the F is going to be equal to. Where am I now I was on the F is down here the perfect fourth. And then the G is going to be equal to the G is the perfect fifth. And then the A is going to be equal to the major sixth. And then the B is going to be equal to the major seven. Boom. So now we have the intervals. We have everything kind of mapped out in this one spot. So now what I'm going to do is I'm going to make this this format this I'm going to make this green. And we'll say this is going to be green. Let's make it that green. Now let's make it the dark green. And then I'm going to put the text as white. I'll do the same up here. Let's do this green white. And then let's center these are going to center those so that looks good. And we can put maybe some borders around it so that we can see a little better. Okay. And then down here I'm going to make this one red. So I'm going to make this one red and white. But I'm going to make these green to do. And so we're going to say boom this green and white. And I need to make I need to make it a little bit wider. So I'm going to make all these cells a little wider. So I'm going to go all the way over so I can make them the same width. So I'm going to go from here all the way over like to here somewhere. And make this just wide enough so it fits like the widest thing which is right here. So let's fit that one. That's the fat one. We got to fit the fat one in there. Okay. Do not shame the the major seven. It's an important interval. And so we're going to say there it is and the major seven lens weight to the whole enterprise. Okay. I don't know what I'm talking about. This is going to be an E. Let's hit let's make this orange and white. Oh wait a sec. Not orange and gray orange. And then this should be white. And then see see what's happening here is so now this is green. So I'm following the green around. And so so this so this two is a D. But I'm following the green around because what we're going to do next time is we're going to start from the D. Make it the one and then follow the red around which will be the Dorian so that we have all of the modes in one place. So I can show that here. This is going to be I'm going to call this the green is going to be the major. I'm going to select that or I could put it in the middle that might be easier to do. If I just put it in the middle and then I center it and then I make this green and white and then maybe put some borders around that. Actually no no this one needs like one border around the whole thing like that and then like that. Okay. And so then down here what will happen is this is going to be the Dorian. I'll put it out here Dorian and I'll make this whole thing red. So the Dorian is going to be red and I'll put a border around the whole thing and make that white. And then this is going to be it. Let's see if I can spell it right so I'll copy it. I can't so I'll copy it and there we go. And then this is going to be the Phrygian. It's going to be the orange and white. And then we've got the Lydian which is going to be I'm going to call that blue your blue Lydian. I called it blue. And then the mix of Lydian is going to be purple. Let's bring that to the middle. Let's center it home tab center and we're going to make that purple purple and here and I'll make this blue as well. Let's make let's make this one purple first since I'm on the purple. And then this one's going to be blue and then white and then this one I need to make white and then this one's going to be the minor. Otherwise no one is Aeolian and so there we have that. It's a little long so I'm going to make it a little bit smaller. That one's going to be a little small. And then we're going to say that this is going to be let's make it brown. I'm going to make it brown. Where's the brown that I used over here? I had a brown like that brown. Is that what I used? And so then I'm going to say this is going to be yellow and this is going to be the loco. Loki and the crazy one. Keep an eye on that one. Keep an eye on that one. Okay. Home tab and then this one's going to be boom. Okay. So there we have it. So now I'm going to center the green all the way around. So let's center this and this is going to be green and white. And so this is going to be green and white, green, white center. So the two is a D of the major and it's a minor chord construction. It's a major second away. The three is an E and it's a three note of the major of the key of C and it's a major third. The four is going to be the F and this should be this blue. Why did I put it a different blue? It's going to be the F and let's center it too. And it's going to be the the perfect fourth away and then this one's going to be purple. Let's make this purple boom and center it and white. So the this G is going to be is going to be the fifth. The fifth, it's going to make a major chord and it's the perfect seven. I mean the perfect fifth, which is seven notes away from the C if you talk about a 12 note interval. And then this one I'm going to make us actually this should be green. I'm confusing myself by talking and trying to do this at the same time, which is harder than I would have thought at first. So then I'm going to center that there it is. So this is the six, which will be a minor chord construction. And it's a major six with which is nine notes away from the C. And then this is going to be if I center this, it's going to be green and white. This is going to be the seven that diminished and it's a major seven, which is actually 11 notes away from the C if we're looking at all 12 notes, right? So it's a so when I say it's a major seven, notice what's happening here. Just a quick recap. We only have seven out of the 12 notes. So if I say this is the perfect first, it's actually zero steps away. It's the first because it's the first note in the scale. That's what this one is telling you. It's the first note of the scale. This one is is the second note of the scale. So it's a second and it's a major second, but the second tells you it's the second note of the scale. And it's the second note of distance from the key of C. If you look at all 12 notes in the scale, this one says it's a major third. That means it's the third note. That's what that three is telling you of the scale. If you start on a seven note scale of C major, but it's actually four notes from the C. If you looked at all 12 notes, right? And this one is the fifth or the fourth. It's a perfect fourth. The four here tells you it's the fourth note in the major scale. And the five tells you that it's five notes away. If you look at all 12 notes in the scale, this one is going to be the fifth, the perfect fifth. The five tells you it's the five note in the seven note scale. The seven here is telling you it's seven notes away. When you look at all 12 notes in the musical alphabet starting from the key of C and counting out. And then this one is the sixth, the major sixth is telling you it's the sixth note in the scale of the C. The nine is telling you that it's actually nine notes away when you look at all 12 notes in the musical alphabet. And then the seven here, again, it's the seven notes away. It's the seventh note in the scale, but it's actually 11 notes away when you look at all 12 notes in the musical alphabet. Okay, let's put some brackets around these, not that kind. Let's put borders, all borders. We want borders everywhere, borderized. Everything needs to be in its own little box. Okay, everything needs to be separated. Okay, so then we're going to go here and like if I started on the D then then I'm just doing the same thing. Same notes now, because this is just all of the complement modes, but now I'm going to start on the D. So that means the D is now going to be the one. It's going to be the one, but it's going to be a, it needs to be a minor, right? So what I can do here is because, because all of these are going to be the same type of chord, which is going to be a minor chord if you constructed it from the D. So I could do it this way. This equals the lower and then of this I over here, right? So now it's a lowercase I. And then if this is going to be equal to the one and now the one needs to be the perfect first. So let's make this is going to be red. So now I'm going to say this is red and white and centered and we'll put boxes around it. And I shouldn't have done this one. So I'm going to format paint over here to get rid of that. So now if I follow this around, if I go from the D to the E and now I'm looking at the red. So now it's not the three anymore. This is going to be the two. If I think of this as the one, this is the two. It's still going to be a minor chord that I would construct from it. So if I'm thinking of the D as the one, this is going to be the two. So I know that's going to be a two. I know that when I think about whether or not it's going to be a major or minor chord, it's always going to be the same. So whether this is going to be upper or lowercase will be the same. So because these are all of the complement or related modes. When I look at the E, it's always going to be constructed from there a minor chord. So what I want to do is I can just pick up the same minor. So I'm going to say that this is going to be equal to the two up top. And it's minor, so I don't need to change that. And then when I look at the intervals, I'm actually going to pull this from the Dorian. So I'm going to look at the Dorian. I'm going to look at the E on the Dorian that we constructed to the right. So I'm going to go down to the Dorian. And here we are. And I'm looking at the relation to the E. So there's the E. And I'm looking at this then, which is going to be two note away major second. So there we have that. And so then I'm going to say, OK, let's go ahead and make that red. Let's make it white. Let's make it centered. And there it is. All right. Let's also put some brackets around it. OK. We'll bracketize it. All right. Let's go to this one. So now I'm going to say once again, let's make it red and white first. So we can kind of follow that around as we do this. We're going to say, all right, this is going to be equal to it's now the three because we're starting on the D. So now we're on the two. We're on the three. The three is going to be, it's always going to be a major chord if we construct it. So I need an uppercase here. So I need, instead of the lower case, I need an uppercase. So I'm going to say this equals upper. And I'll just pick that three that makes it a capital three here. And then I'm going to look at my related Dorian because I'm still on the Dorian because that's what the red is following. And I'm looking at the F in Dorian that we constructed over here. So I'm going to say, all right, here's the Dorian. There's the F that was the three. So I'm going to pick up this related interval, which is the minor third. So there we have it. Okay. Let's center that. And let's put some, let's center it. Let's put some brackets around it. And let's go to this one. I'll do the same thing. Center, red, and brackets around it. And then I'm going to say, okay, this is going to be equal to the four because we started on the red. So this is one, you know, the one, two, three, and then the four. This needs to be capital as well. So I can just say this is going to be equal to the prior green one. It's already capital. So that is good. And then I'm going to look at the Dorian again. I'm still on Dorian and I'm going to look at the related to the G. So I'm going to say, where's my Dorian over here? And then I'm looking at the thing that's related to the G. So here's the G. So I'm looking at the related, which is a perfect fourth, perfect fourth. All right. I think I've got that right, hopefully. And then we're going to say, okay, let's follow this around. Let's make this once again, red, bracket, white center. And this is going to be then the five. So we'll say this is the five. This is going to be, it needs to be now a lower case. So I'm going to say this is going to be equal to lower of that five. So now it's in the lower case. And now I'm going to look for the A in Dorian and find the related interval. So I'm going to go, all right, here's my Dorian. There is the A. So let's find the related interval, which is the perfect fifth, perfect fifth. Hopefully we've got that correct. I'm trusting my worksheet a bit here to do that. And then we're going to go, okay, let's do it again here. We're going to say this is going to be red, bracketed and white and centered. So this is going to be number six. And this needs the little diminished dot over here. So it needs to be that with a diminished dot. So I can do that by saying it's going to be this and then tying it together with an and. And then quotes to put a text period quotes ended. And there it is. And then I'm going to find the Dorian. I'm going to find the B in the Dorian and the related interval. So I'm going to go back on over here and say here it is. There's the Dorian. Here's the Dorian. Here's where the B is. Here's the related interval down below. So now we've got those two kind of in one spot. Hopefully I've got hopefully I map that at all correct. Oh, I've got one more up here and let's go boom, boom, boom. And it's centered. Okay, so this is going to be then equal to the last one, the seven. It needs to be an uppercase. So I'm going to say now I can't really change this one to take the dot away as easily. So I'm just going to say let's just type it in here equals lower. I need an upper just Roman number seven, boom. And then this is going to be I'm looking for the Dorian where we have the C to find the related interval. So I'm going to say right here's the Dorian. Here's the C. So the related interval is a minor seven. So hopefully I've got that correct. And so now you can see we've kind of mapped both of them. So you can look at this one worksheet and say if I start on the green, I can follow the green around and I have that circle. And then if I want to follow the Dorian, which is the compliment mode, I can follow the red around and go around that circle. So we'll continue and we'll keep on adding these next time, of course, starting on the fridge. And let's actually just map out the colors first out here. We'll do that now. Let's just map out this is going to be orange and I'll put brackets and to do it. And then this is going to be orange brackets to do it and centered. This will be orange brackets, orange, white and center. This will be brackets, orange, white and center. This will be brackets, orange, white and center. This will be brackets, orange, white and then center. And then this one is going to be brackets, orange, white and then center. Should we continue that? If I continue that around, this one's going to be the blue. If I continue that, it's going to be okay, this is going to be the blue. And then it's going to be brackets, white and center. This will be brackets, blue, white and center. This will be brackets, blue, white and center. I could format paint them. That might be easier, wouldn't it? Is that the same blue? I think it is. I put something in here. The white text makes it look different. So I'll take that and then format paint it here. Let's just format paint one of these over here. And there we go. And then let's say then we're going to have the purple. So this will be purple, brackets, white, center. And I'll just copy one of these or format paint one of these. Format paint one of these. Format paint one of these. Format paint one of these. And then format paint one of these. And then format paint one of these. And then we'll have the brown. And brackets, white and center. Format paint. And then format paint. And then format paint. And then format paint. And then format paint. One more time. Format paint. And then we're going to have the yellow. This one I'm not going to use the white text. I'm going to use the dark text. So I'm not going to make it white. I'm going to keep it at the black text. And format paint that up here. Format paint this here. Format paint this here. And format paint it down to here. Format paint this to here. Format paint this to here. Format paint this to here. And let's just clean this up a little bit. Let's put some brackets around here. Not all borders, but an outstanding border. Let's put that outline around here. Let's put an outline around this one. Put an outline around this one. An outline around this one. Outline around this. This. And this. And maybe this. And then this. And this. Okay, so now we have the outline. And next time we'll go through a bit of a tedious task to map it all out. But again, if you actually construct this, I think it's useful to kind of follow this around. And then you get an idea of what's going on. And then you can basically have all of these things in one kind of one area instead of looking at these different squares and these different circles, right? You can have them in one circle, although it's kind of confusing to look at. But I think it could have its uses. So we'll continue on that next time.