 Guitar and Excel, C major, A minor, pentatonic scale fret number nine, intervals. Get ready and some coffee, because sometimes we just need the right mindset to push forward. Like that time I slashed my finger on a guitar string while executing an epic guitar bend and then attempted to not make a mess by putting my finger in a glass as I worried about my precious lifeblood rapidly draining from my body. The blood level in the glass quickly reaching half full. No, what do you mean Phil, I'm a pessimist for saying the glass was half full. Come on, the glass was not half empty Phil. That huge half full glass had enough blood in it to blow up the belly of a gluttonous vampire for crying out loud so that the vampire would then have to use the magical healing power of the blood to knit up its own gut which was only blowing out in the first place because he drank all the blood in the totally huge half full cup. Half empty, whatever Phil. You know, I'm not listening to this pie in the sky stuff about the glass being only half empty. And anyways, in my experience, if there ever is a pie in the sky, it's there because some jerk threw a pie at you and the pie in the sky is probably about to hit you in the face. Why? Because gravity. That's why, because gravity. The proper response to a pie in the sky is not, it's not to start dancing around like some hippie. It's to say, hey, watch out, heads up, there's a pie in the sky. It's about to hit us in the face. Whatever. Anyways, luckily I heard from a reliable source that the brain doesn't really need blood as long as you keep it wet. So as long as we can keep the beer glass from getting half empty, it should be okay even though the totally huge blood glass is half full. Now it's not for optimism. You know, that way you can push forward and keep playing the bloody guitar with our bloody fingers. Sorry if that was too sweary for my English listeners. We're allowed to say bloody, you know, in the United States. Free speech and all that, you know. Here we are in Excel. If you don't have access to this workbook, that's okay. You could just follow along. But if you do have access, it's a great tool to run scenarios with quick recap of the project. Thus far, noting that you don't have to have watched all prior presentations to follow along with this one. But a general overview of the overall project can help to orientate us. So let's go back to the first tab to get a recap of that overall overview. We're looking at the C major scale and related modes. We started by looking at the open position which we defined as frets zero through three. Funnest way to learn notes in open position is to map out the chords from a scale. And we started with the C major chord, mapped it out in open position, discussed it in detail. Then moving to the four chord because it also has a major chord construction indicated by this uppercase number here. And then we went to the five chord, same thing. And then back to the two chord which has a minor chord construction, same with the three chord, the six chord. And then the seven chord or diminished chord. If we were then to map out all the notes from those chords in one position, in this open position, we would be mapping out all the notes in the C major and related modes which would look something like this. All the blue notes here. We then wanted to move to the middle of the guitar and learn this position not starting with chord constructions, but rather with the scale constructions so that we can then tie in what we learned in open position to what we're doing in the middle of the guitar from a scale format to start out with. We started with what I would call position one. You might call it a G position. And then we mapped it out, discussed it in detail. We did a similar process then moving to the next position, which I would call position two, which you might call an E position, which starts on fret number seven. And then we moved up to where we are in essence now. We're looking at what I would call the, let's look here, the third position. The D position you might call it, which we discussed in a prior presentation. And now we want to think through it in terms of intervals. We basically just went through it in terms of finger in it. Now we want to think about it in more detail in terms of intervals. Now this is a practice I recommend doing like in the morning because when you need your mind to be actually working and then possibly in the evening kind of noodle around and working on your fingering and whatnot because there's a lot of things that seem to blend together that we have to kind of pull apart in our mind, including all the different numbering systems that we can use. If we start to mix them all together, we're going to get confused. So for example, we need some kind of system to allocate to all of the notes. We could use letters, but it's also useful to indicate them with numbers, which I'll argue for and discuss, although not everyone agrees with that. So we have that numbering system. Then we have a numbering system with regards to the scale that we construct. Usually a seven note scale in Western music, which means we're taking seven of the 12 notes and then numbering it in the position in the scale. And we can see that in numerical and we can also have the Roman numerals, which will give us added information about whether we're constructing a major or minor or diminished chord from those items to diminished having a little dot here. So that's another numbering system that we need to basically understand and then we have interval numbering system. We could think about, say, the intervals as we move from note to note in the scale, which is another numbering system that we need to know. And we also might think of the numbering system in terms of the interval of each note in the scale as it relates to the one note or tonic note in the scale. And we have these intervals that we might think of in terms of each note in the scale having its own distance with relation to that chord note within the scale. So these are all things that seem, you know, they seem to completely blend together if we don't understand the numbering systems or don't try to keep them straight in our mind. We also, in essence, could have a numbering system as I do here for the positions as we cut the guitar into positions. We're trying to label these different shapes in some way, shape or form. You could use a numbering system, you could use the open shape formats that we're trying to discuss. So I'll try to touch on different techniques that different people might use. So a quick recap of this, I'm going to go back to the OG tab to discuss the quick recap. You will recall, or when we constructed the worksheet in a prior course or section, what we did is we just basically laid out all of the notes in the musical alphabet, which is not as easy as just saying the musical alphabet, A, B, C, D, E, F, G. It just goes to G because you've got those half steps in there and the half steps could be named multiple different ways, such as, for example, this could be an A-sharp or a B-flat. For Excel purposes, I'm going to put it AB lowercase so that it can indicate basically either one. That's going to be the functionality or the way we're going to do it in our worksheet so that we can see that clearly. Now it's going to be hard then to say the musical alphabet because you can't really use a song to say A, A-sharp or B-flat, B, C, C-sharp or C or D-flat, D, D-sharp or E-flat, E, E and then to say it backwards is even worse, G, G-flat or F-sharp, F, E and then E-flat or D-sharp, right? You can't really just, it doesn't roll off the tongue unless you were to repeat that a lot of times. But if you number them, then it becomes fairly easy to say to go up and back. So if I just name the A as the one, the A-sharp or B-flat as the two, the B is a three, the C is a four, the C-sharp or D-flat is a five, D is a six, the D-sharp or E-flat is a seven, E is an eight and then F is a nine, F-sharp or G-flat ten, G is an eleven, G-sharp or A-flat twelve and then it repeats back then at one. If you can remember that, if we can code in our mind, which doesn't take too much trouble because there's only twelve notes, going back from number to letter and the other way from letter to number, then we can use some nice math in order to say how far is the total distance that we're going when we're thinking about intervals. And that becomes quite useful when we think about half steps and whole steps and we're trying to count up from going from like an A to a C, for example. If I can number them, I can say, well, a C is a four minus the one, and it's going to be three steps up. Whereas if I try to count it out with the alphabet, musical alphabet, I have to say I have to do that clunkiness of A, A-sharp or B-flat B and count it out most likely on my fingers, which isn't as efficient. So that's why we're going to be naming our notes one A. That represents the fact that it's note number one. That's an absolute position. It's not going to change and it's an A. A two, which represents A-sharp or B-flat. So that's what these notes that are in our fretboard represent. If you're not used to the numbers and you don't want to do that, you can just use the letters if you so choose. Then we need to construct our worksheet over here, picking out the seven notes out of the 12 that we're going to use. What's the pattern for doing that? Well, I'm going to make this, I'm going to bring this back to a four, which is a C, so we're starting on the C major, and then we use the pattern of, you can name this in multiple different ways, whole, whole, half, whole, whole, half, is one way that you can see it, or you can see it in terms of notes, two notes, two notes, one note, two note, two note, two note, one note, and so on. So if I was to then count this out, if I can see that C as a four and then I apply out my intervals, I'm starting on four, which is a C plus two, gets me to a six, which is a D, going from a D plus two, a whole step gets me to an eight, which is an E, plus one half step gets me to a nine, which is an F, plus two gets me to an 11, which is a G, plus two takes me to 12, and then around the horn, back to one, which is an A, one plus two gets me to a three, which is a B, and then three plus one gets me to four, back to my tonic, which is a C, and you can see we can repeat this process going around in a circle, given the fact that there are 12 notes. So we have then these intervals, that progression, the whole, whole, half, whole, whole, half, represents the distance from one interval to the next. So when I go from the numbering system here, of one, two, three, four, five, six, seven, this is only seven out of 12 notes. So what is that really doing? It's going from the one, and then a whole step to the two, and then a whole step to the three, and then a half step to the four, and so on and so forth. That's going to be that numbering system. This numbering system, I'll see it down here, this numbering system then is the same as this, because it's just going to be Roman numerals, that means one through seven, but we can make them lowercase and uppercase, which will give us an indication as to whether something is using a major chord or will be constructing a major chord or a minor chord. Now, notice not some magic thing that we have to just memorize. It's useful to memorize that the one is a major, the two is a minor, the three is a minor, the four is a major, the five is a major, the six is a minor. It's easier to memorize, I think, to say one, the one, four, five are majors, and therefore the two, three, six are minor, and then the seventh is that funny diminished. So there's three major, three minors in the diminished. But the reason that happens is because if we put our scale in a circle, these are our seven notes, the idea of our chord construction is we're just going to take every other note. If you put two notes that are right next to each other in the scale, then the idea is you might have tension. If they're too close together, you might end up with too much tension. So we're just going to take every other note. So the C is here, here, and here, and that's all we're doing, which happens to then have a construction in terms of intervals compared to the one of the first is a one, and then the third is going to be a major third, and then a fifth, which is going to be a perfect fifth. So we can start thinking about basically those intervals. But that's all we're doing to construct this. If I start on the two, then I'm just taking every other note, boom, boom, and there's the two. We can see that down here in a circle of thirds, which is just doing that. I'm just taking every other note. So here you can see this construction nice and easy. There's a C, E, and a G. There's C, E, G. That's the one. If I start on the two, E, G, and B. So there's going to be on here the E, G, and the B. And then if I start on the fifth here, we've got the G, B, and D. So there's the G, B, and D. And if I start it on the B, I have B, D, E. So you can see how that's going to basically be constructed. All right, so let's go back on over here. Now I've added, in essence, a new worksheet. So here's going to be the new, this blue one. This is our new worksheet. And the thing that's new about it here is that on the second bit, I've given us the intervals. Now, in a separate course or section, I'll show you how to construct this. I'll actually build this if you're interested in building it from an Excel standpoint. It's kind of a project. But the idea is that it's, and we'll start talking about intervals more in a future presentation. But I just want to touch on the intervals in terms of naming them, how you will often hear them conventionally named, and kind of the issues with that, which again we'll dive into in a lot more detail in future presentations. But this worksheet is comparing all of these notes. These are going to be these notes as they're compared to this note, which is going to be what we're going to say is the tonic. So everything in this worksheet is being compared to the one. And these are going to be defining, in essence, the distances. And I'll discuss possibly a little bit of that as we go through our project. Okay, so that's going to be all the numbering systems we need to keep straight. So we're going to try to go through this numbering system here where we only have five, another kind of issue. We only have five notes out of the seven, which again, we could make a whole another worksheet to work this out as one, two, three, four, five, the pentatonic numbering system. Or I'm just going to keep this one where it's the one, two, three, and then the five, six, so that we can kind of see how it fits inside of the standard major numbering system for basically Western music. All right, so then in order to get our finger in and see kind of like why we're going through the positions of this way, let's first take a look at how this C major scale will map out if it was on one string, which would be similar to how it would map out on like a piano, for example. So if I'm going from this C to this C, that would be kind of like a piano. The blue notes would be the white notes on the piano. And then we'd say, okay, if I apply my pattern, it's going to be the one whole step to the two. So I skip a note, two notes up, whole step to the three, skip a note, half step to the four, whole step to the five, whole step to the six, whole step to the seven, and then half step to the eight or back home to number one. And then you could see the same, you could repeat the same thing going basically in reverse. All right, that's useful. However, it's not likely that in a guitar, what we want to do is we want to play something like in the same box. We want to play it in the same box, typically. So then the question is, well, when if I'm going up in this pattern, can I go back down to the next string? How do I know when I can go to the next string? Well, then you can say, well, what's the distance between one string and another? And if I count that out, if I was to start on say this E and go one, two, three, four, five, I've got to go up five strings to get back to this A right here. So I'm going five steps up. We call that a perfect fourth. I won't go into the reasons on that right now, but we'll talk a little bit about that more in the intervals, but it's five notes up. Why would that be the case? Well, because if I go from here up to this G, the next note in our interval is probably going to be a whole step up. And if I was to finger this, I don't need to finger an open fret, but if this was anywhere else and I fingered it, then this would be representing four fingers. I have my pinky here, and then instead of going out here, I don't have any more fingers to reach that. We're going to go down pinky to pointer. And that's why when you go pinky to pointer, that's a whole step. So that's how you kind of want to think of it from a practical standpoint. So for example, if I'm on like this C right here, then I can go... I can go... If I'm on this C right here, my pinky is going to be on this note here. And then if I wanted to go back to the next one that would be a whole step up, it's going to be that F, right? So instead of me going up to the F reaching this way, then what I'm going to do is go down to the next string. And so I'm going to go down here, and you can see that fits in beautifully. So pinky to pointer from pinky to pointer that's why that's a whole step. So whenever you see that pinky to pointer, it's a whole step unless it's between these two strings, pinky to pointer, then it's like ring finger to pointer because there's a different distance between these two strings. So that's the kink in the tuning that we have to basically account for. If you keep that in mind, then you can count up the scale just like you would if it was on one string as you go down, up and down the fretboard because you're going to say, oh yeah, that's a whole step right there. Going from pinky to pointer is a whole step. That is unless you're between these two strings because of the kink in the tuning. So if I have my finger here on this C, then I go up to this D. I'm not going from pinky to pointer because if I go to the next one up that D, the next one is an E. Instead of going out that way, I'm going back and so now I'm going from ring finger to pointer. So that distance is basically going to be the whole step between those two notes. So if we keep that in mind, we can do a similar project over here. So I've basically, if you have access to this worksheet, I try to list them all out so we can move smoothly and you can kind of finger it and then just go from one tab to the next tab. So we're in basically this position up here. So this was our position, what I would call the position number one. This is going to be position number two and this is what I would call position number three, which is starting on this D if we just pick the top string. But typically we don't want to just pick the top string. Instead, we want to be looking at the C because we're thinking of ourselves in the C major scale. So I could start on this C down here, but because the C is like the last note in the prior shape, it's kind of useful often times to start there and then kind of lead into this shape. So if we look at the intervals, I'm going to say we're starting on this C, I'm going to try to basically name this out in my mind and we'll get into this in a lot more detail adding more information about intervals so you can use it as an exercise worksheet, but if you get in the practice of kind of naming these out as you pluck them in the morning, that's a good kind of exercise. So we might say something like, I'm looking at the C major scale and this is going to be and I'm going to start to name this instead of, this is a relative position what I've been calling it before so that we can make sure that it changes relative to the scale that we are in. Now I'm going to call that the first. So when I say the first, instead of just a one, the first means it's the relative position to the scale. So this is the first of the C major scale. So we're looking at a C major scale, this is the first of a C major scale which is a an actual C it has a major chord construction that we might want to add that into our mind, we can see that with the little out one here as we go through our exercise and then when I go from the first to the second you can see right here, it's a whole step it's two notes away. So I'm going from the first to the second which I'm going to say in my mind is going from note number four because I'm going to use the numbers absolute number four plus two four five six. So now I'm on note number six. Note number six is a D and therefore D I'm going to say is the second position of the C notice I'm going back here and plug in the C major scale. So that's going to be kind of like what I'll repeat in my mind as I go forward and then I might even say that the second of the C major scale has an interval from the first of what we're going to call a major second and what this is saying is it's a two note away we'll talk more about this later but it's a two note away that's what the two means major second which is another way to say it's like a two note away major second but a little bit more complex way to say it and so we can start to learn that terminology which again we'll get into in a lot more detail later and then if I go to the next tab I can also say in the second has a minor chord construction as I'm going through it right and so I could say if it was a minor chord construction moving forward just doing a bar chord like that if I wanted to say that and you might also want to put in your ear that's a major second two note away major second. As we move forward through the scale you can move all these shapes forward which is a good exercise in and of itself noting that the end goal is basically to be able to do this in our mind as we move our finger through it I also have the adjustments down below if you want to do it that way but on this particular worksheet I also made tabs to the right so we could just tab to the right as we go through the different positions within the scale so what I'm going to do is just tab to the right and now we're going from this D to this E that's our starting point this is our ending point so I can say okay now I'm going to move my finger up from here to this D position I'm in shape and I'm going to say this is going to be the second of a C major pentatonic scale this is going to be the third of the C major pentatonic scale and then I'll repeat that saying I'm going from note number six to note number eight and then I'll say that note number eight is an E and therefore E is the third of a C major scale and then I'm going to say that or pentatonic in any third of the C major pentatonic scale is going to have an interval of what I would call a four note away major third so four note away that's what that four stands for major third is another way to say that it's basically four notes away we can see that because if we use our numbering system here we're at eight minus four is four you can also see that from the distance from the tonic the C is two plus two or the four notes away we also note that I can see that this would be a minor chord construction so the three of a major scale has a minor chord construction and then I would go from the three to the four and so I'm just going to go to the next tab now notice it skipped the four because that's the interval that we skip when we're looking at a pentatonic so we skipped the four and we're basically going from then the E up top to the G so we're going from the E to the G and we skipped basically the F which would be a half step away right here so so that means that the full distance that we went on from a pentatonic standpoint is going to be the one and the three we basically went three notes away rather than taking the half step one note away and then going two notes up because we eliminated all the half steps in our pentatonic scale so then I'm going to say well then the distance between the three and the five is going to be a three note away distance and then I'm still going to call this a five even though if I think of it as a pentatonic scale five note scale it would be the four right this is where it gets messy in the numbering systems but I'm going to see it in relation to the major chord on the major scale because that's the primary scale that we compare everything to so I'm going to still call that like the five and we skipped the four in our pentatonic construction and I'm going to say okay well the fifth of a major scale and therefore let's say this so I'm going from note number E to note eight to note number eleven note number eleven is a G and therefore G is the fifth of a C major scale and we know that the fifth of a major scale has a major chord construction and we can see that with the uppercase here and we know that the fifth of a major scale has an interval of a seven note away perfect fifth because it would be two plus two plus one plus two that's going to be adding up to the seven and it's going to be a perfect fifth meaning if I play that interval it would be a perfect fifth so we name seven notes away is a perfect fifth and we'll get into more interval naming technology or ideas later but there we are there and then we're going to go from the fifth here to the sixth so I'm going to go from the fifth of a C major scale or C major pentatonic to the sixth of a C major pentatonic scale which is going from note number eleven to note number one because it goes note number eleven twelve and then around the horn to one and then I'm going to say okay that's two notes away from the fifth to the sixth which I can see here and that's a whole step and I know that the sixth of a C major scale therefore is an A and the sixth of a C major scale has a minor chord construction which I could build like that because I can see with the lower case right there and the sixth of a C major scale has an interval follows to reach that of a nine note away major six that's what it means to be a major six nine note aways and then you can practice your ear training by trying to hit those two notes the C and the A that's the interval the distance we'll talk more about intervals later okay so now I'm going from the five of the six of the pentatonic scale skipping the seven so here's the six normally we would be going to the seven which would be a B but we're skipping that and we're going to be moving then to the C so we're going boom boom and instead of that being then a two note away to go to the B and then a one note away we're basically taking a three note step there to kind of avoid that half step interval in essence is what we're basically eliminating by doing that so we're going then from note number one up three which is going to be two three four to note number four is a C and therefore C is the twelve note away octave of the C major scale or pentatonic scale so if I play those together that's going to be our octave and I know that the one of a C major or pentatonic scale has a major chord construction of course so then we can keep on repeating that process and say now I'm going to start at this one and then I'm going to move up to here so I'll keep moving up and do the same thing so now I'm going from the first of the C major or pentatonic scale here to the second of a C major or pentatonic scale which I know back to the top again is a whole step and then I'm going to say that I'm going from note number C to note I mean note number four up to note number six and note number six is a D and therefore D is the second of a C major or pentatonic scale and I know the second of a C major or pentatonic scale has a minor chord construction so I'll just kind of repeat that in my mind as I go through it you might want to like see if you can finger it right so there's multiple different ways that we can finger it but one way is to start to lean forward when you're going through it so you could finger each of the shapes minor chord construction and the second of a C major or pentatonic has an interval of a two note away major second which I'm now going to try to train my ear it sounds like this so I'm trying to do all that at one time you know as we go through and walk through our scale so I'm going to go okay then we're going to go from the second to the third so I'm going to go from the second which is here to the third so that's going to be a whole step so I'm going to go boom boom and that makes sense that it's a whole step because I'm going basically from pinky to pointer right now right so instead of going up here two notes up pinky to pointer I know that in my mind is a whole step when I go from pinky to pointer so I'm going to go from note number six seven eight so two notes up note number eight is an E and therefore E is the third of a C I can see my C is right there above it a C major or pentatonic scale and any third has a minor chord construction so you can think about how you can make a minor there's I'll just say it in my mind it has a minor chord construction and we know that the third of a C major or pentatonic has an interval of a four note away major third so it's a four note away major third we can see that because the two plus two is the four or we can see it because we know that eight minus four is four right so we're going to say and that so here's what that interval sounds like if you put your finger on the C and then you ring out the E so I'm trying to get my ear training and as I see that I can now start to see that oh yeah that's a major third I hope I didn't say minor it's a major third and then I go to the next one so now I'm going to go from three skipping the four to the fifth because we're looking at the pentatonic and we can see clearly kind of the interval now instead of going from the three to the four which would be a half step we're skipping the half step which means we're doing three steps away right so we're going from basically the three skipping the four to the five which is three notes away for our major pentatonic we're going from note number eight to note nine ten eleven note number eleven note number eleven is a G and therefore G is going to be the fifth I'm thinking about five notes from the seven even though I'm thinking about a five note pentatonic I'm thinking about seven notes in the major scale we're playing five out of the seven that's how I typically think of it so I'm still on the fifth and I removed the four and the seven the fifth of a C major scale has a major chord construction so then you could make a major chord from it if you want I'll just note it here and the fifth of a C major scale has an interval of as we can see here a seven note away we call that a perfect fifth so it's a perfect fifth seven note away a perfect fifth we can see it's seven notes away cause two four five six seven here or if we use our numbers on terms of the notes eleven minus four is going to be the seven if I want to see what a seven note away perfect fifth sounds like I can play these two notes and you can see that shape you can start to see that oh that's a perfect fifth shape typically that's the power chord and so then we can go from the relative position five to relative position six which is going to be a whole step and I can see now I'm going from note number eleven to twelve one now there's a whole step that's not going from pinky to pointer because we have the kink in the tuning here so the kink in the tuning down here we're going from note number eleven twelve back to one note number one is an A and therefore A is going to be the sixth of a C major or pentatonic scale and the A has a minor chord construction as I can see with the lowercase letters here and the sixth of a major scale has an interval of a nine note away major six that's what a major six means nine total notes away so what does that sound like so you can start to train your ear to say okay that's a nine note away major six alright so then we're going to go from the six to the seven so now we're going our back to the one I should say so we're going because we're on the pentatonic so we're on the six we skipped the seven which would be two notes away and then we went to the eighth which is one note away so we're doing a three note away back to the eight or home so we're going from note number one two three four which is going to go back to basically the home so now we're back on note number four note number four is a C and therefore we know that C is the twelve note away octave because we're back home and then of course you can do this in reverse we're running kind of long so I won't do it too much longer but if I was here let's start like at this one where we ended off on last time so if we're on this C so if we went we went one two so if we're basically here we went one two three four five six or one so now we're going from this C down to this C we can see this C as the first or we can see it as the eighth there's only seven notes but sometimes it's useful to count it as the eighth so that we can count it backwards notice that I'm using it as an eight as though I'm thinking of it as a seven note major scale even though we're looking at a five note pentatonic because I'm trying to relate it to what's going to be fitting inside of the major scale so I'm going to think of it as an eight and then I skip the seven so I'm not going back to the seventh because we're going to be going to the sixth that means that we would have this one and then two so it's going to be three notes away so I'm going from this C the eighth of the C major or pentatonic scale down to note number one which is three notes down four minus three is going to give us the one note number one is an A and therefore A is going to be the sixth of the C major scale which I'm hitting down here to be able to see it we know that the sixth of the C major scale has a minor chord construction by this letter right here and we know that the sixth of the C major or pentatonic scale has an interval of a nine note away major six and now I'm going to try to sound it out this way I'm hitting the bottom note first now notice that sounds a little bit different because I'm hitting I'm going from this C to here instead of going going this way right so that you have the same notes but it's different in terms of which one's the low note right so we'll talk more about the intervals in detail in a future presentation but then we can go back so now we're going from the sixth back to the fifth so we're going to go from the sixth of the C major or pentatonic scale back to the fifth of the C major or pentatonic scale which we can see is a whole step and we're going from note number one down to note number 11 because it goes 12 and then back around the horn so 12 and then 11 note number 11 is a G and therefore G is going to be the fifth of a C which is the one below it a C major or pentatonic scale I know that the fifth of a major scale has a major chord construction which I can see here and I know that the interval of the fifth of a major or pentatonic scale is a seven note away perfect fifth which I'm now going to play the bottom note first try to say okay that sounds right if I do it this way and try to train my ear to hear those intervals and then I can go from the fifth down to the third so now we're on the fifth here with the G going down to the third because we're going to be skipping the fourth so it's going to be three notes away so I'm going from the G minus three so 11 minus three is going to give us down to the 8, 11, 10, 9, 8 note number 8 is a E and therefore E is going to be the third of a C major scale or pentatonic scale and we know that the third of a major or pentatonic scale has a minor chord construction as we can see with this three right here that's a lower case and we also know that the third of a major scale has a three note away and a four note away which we can see right here a four note away major third sounds like this and then I can go from the third back to the second so now I'm going from the third where was I on the E and then going back to the second is a whole step so I'm going from note number 8 to note number 6 is a D and therefore D is going to be the second of this C major scale and a second of a major scale has a minor chord construction which I can see there and the second of a C major scale has an interval of a two note away major second so you can play it like that or right and then we can finally go back to from the second to the first so now we're going to go from the second to the first so going from the second of the C major pentatonic scale to the first of the C major pentatonic scale is a whole step going from note number 6 to note number 4 note number 4 is a C and therefore you know C is the first of the C major or pentatonic scale which has a major chord construction and we're talking about a 12 note away perfect 12 note away perfect first octave so you can see how you can that's a little tedious to do that clearly but if you can pack as much like information as you can with all these intervals and the chord constructions as you walk through the scale like in the mornings then you can pick any of those things you want to kind of focus on and repeat that process now you can do the same thing like with the minor here with the A minor but obviously this whole worksheet is set up in orientation to the major remember that this pentatonic fits perfectly into the major and the relative minor the other ones you got to tweak a little bit in order to fit them in there because they're going to use notes in their chord constructions that are using these missing notes right so the pentatonic fits into these two so if you wanted to you can go to like this worksheet and just do the same thing looking for the this is the major which means it's the 6th and then if I hide over here to the minor hid and you want to look at it in the minor which is just a mode of the major then you can take this worksheet and basically do the same thing using the minor so now the 6th is now the 1 and basically count through the intervals of a minor chord construction which of course is a little bit different because you're starting on the 1 so if you think about the steps which we'll talk more about when we get to intervals later but in modes and stuff but the minor because minor is so prevalent then you might want to do it from the minor too when you think of this pentatonic scale you think of it as the major and the minor and then you can think what about all the other modes what about if I want to do like a Dorian mode or a Phrygian mode or a Lydian or Mixolydian well then some people will actually take the pentatonic and add the missing element so you can still think of everything in terms of pentatonic if you want and then add the note that's going to be important that you're missing whenever you're playing in a different mode other people like myself typically tend to think more of in a major scale and eliminate the notes that take you back to the minor scale