 Guitar and Excel, open chords, C major scale, D minor, two chord intervals. Get ready, and don't fret. Remember, the board's already totally fretted. So you have to be the column one in the relationship. 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 we started in a prior presentation. So if you want to build this from a blank worksheet, you may want to begin back there. However, you don't necessarily need access to this workbook if looking at this from a music theory standpoint, because we will simply use it as a tool to map out the fretboard, give us the scale and chords that we're focused in on. If you do have access to this workbook, though, there's currently like six tabs down below. We've got the four green example tabs, the OG tab and OG orange, and the practice tab, the OG tab representing the original worksheet we put together in a prior section, it now acting as our starting point, going forward, mapping out the entire fretboard, giving us the entire musical alphabet, both in letters, numbers, and combining them together, having a key that can be adjusted with this green cell that helps us create the worksheets on the right hand side, giving us the scale and chord constructions, which is the primary tool we will be working with. We then wanted to focus in on the C major scale and the chord constructions from that scale, starting of course with the one chord, the C major chord, which we constructed in the first green example tab, hiding much of the fretboard, looking only at the open position, which I'm defining as frets zero through three, mapping out the fingering and labeling the notes that would be fingered in this position, and then we discussed it from many different angles. We then did a similar process, going to the F major chord, skipping the two and the three, going down to the four chord of the C major scale, constructing a chord from it, and the reason we skipped the two and the three is because the one, four, and five will result in major chord constructions, whereas the two, three, and six will be minor chord constructions, and it's useful to see similar chord shapes together, because you'll recognize the similarities then. So we then constructed the shape in open position here. It's actually, you can call it a open position F shape, but it's actually like a bar chord type of shape of an E bar chord, but we did that and we did a similar process, discussing it, then we went to the G, which is the five of the C scale. So we went to the five chord of the C scale once again, because that also will construct a major chord as opposed to a minor chord. We mapped it out in open position and discussed it in detail. Now we're moving to the minors and we're going over here, let's go to the D minors. So you might think when you say move into the minors, it makes me think of baseball as if like we got hit down, we went down to the minors or something, but it's not like that here. The minors are just as good as the majors. So now we're in the minors. So we're looking at the two chord and now we want to think about this in a prior presentation. We mapped it out. We talked about it as it relates to the scales and how we can finger it and look at it kind of from an intuitive sense and noodle around with it, play with it, explore the fretboard with it. Now we want to talk about it from a more detailed sense in terms of the intervals. And this is something that I recommend doing like in the morning for a half hour or 15 minutes, however much time you have while your mind is still working and then when you're kind of noodling around with this stuff possibly in the evenings, this stuff will hopefully kind of solidify as well a little bit as you go. So some of the numbering systems that we need to get straight, let's just list them out first. We have first the numbering system for all the notes in the musical alphabet. Now we could use letters to do that or we could use numbers to do that, but we have to obviously identify all the notes with some kind of unique symbol, either a letter or a number. We then have relative positions. So I'm going to call these relative positions of the scale. So now we want to number the notes in the scale, which is going to be relative to the scale that we're in. In this case, the C major, we could have a slightly different numbering system where we number them not with just numbers, but Roman numbers giving us the ability to have uppercase and lower case. And that gives us another tool to say this one, for example, it being uppercase is a major construction versus the lower case, which is a minor construction. And you can see the one, four, five are the majors, the two, three, six minors. And then the diminished down here has a little dot next to it. And then we have the numbering system for for the actual chord itself. So if I'm trying to name this chord, I'm not going to say it's going to be, I'm going to call it like the one, the three and the five. And these numbers are in relation to the root note of the chord. So that's another numbering system we have to keep in mind. And then we have the absolute distances between the chords. So these are all things that we want to try to keep straight in our mind. And if we just spend like 15 minutes in the morning, analyzing a really simple chord, I think it it goes a long way to start to try to get this stuff straight. So let's go through these one at a time. First, let's think about the names of the notes. So remember, if I go to the og tab over here, we listed all the notes, that's what we started when we built this worksheet. If you didn't build it, that's okay, we you could see it here, we just numbered all the notes. Now, I just went from the notes are usually in Western music, obviously, letters. So we've got a and then you've got this problem with the sharps and flats. Now you've got a sharp or b flat. So if you're going up, it's usually a sharp so a sharp B, there's no sharp between b and c. So it goes to C. And then it goes to C sharp. And then it goes to D. And then it goes to D sharp. And notice I'm representing the sharps and flats with a lowercase d and e to represent that it could either be a D sharp or E flat. Because I think that's an easy tool to use kind of an excel although possibly not the best musical method for proper, you know, whatever that's what I'm using. So then e and then half step to f and then f sharp and then g and then g sharp and then it starts over again at a. Now remember the problem that we have here is that even even if you saw this, even if we didn't have the sharps and flats, even if we were only playing in the key of C, which we are doing here, counting up and back is difficult with letters. Try to say the alphabet A, B, C, D, E, F, G, not hard going from G, you're like G, F, E, D, C. And then when you put the sharps and flats in there, and then you add the added difficulty of trying to say, should it be a flat or should it be a sharp, that becomes more difficult. And I can't really calculate the intervals as easy. If I'm trying to say I went from an A to a D. Well, how far is that? I don't know how many notes away is that we'll have to count up the musical alphabet, but that's difficult because there's sharps and flats in the middle. So it gets kind of confusing. So numbers are actually helpful. So I find it to be very helpful to actually memorize the numbers just numbering the notes from one to 12. I'm going to call those the absolute numbers. They don't change. It is what it is. An A is a one, an A sharp or a B flat. I don't care which one you call it. In terms of numbers, I'm going to call it a two, because that's going to have the same voicing and see how that's a little bit easier. I'm not saying you don't want to learn the letters to because there's pros and cons to that. But I'm saying if you learn the numbers as well, I think that's useful. And then a three is a B, a four is a C, a C sharp is a five, a six is a D, a seven is a D sharp, an eight is an E, a nine is an F, a 10 is an F sharp, an 11 is a G, a 12 is a G sharp. So that's the numbering system. That's why I have the letters and the numbers mapped out on the fretboard. And note that if you were able to see the fretboard just in numbers, look how much cleaner it is than looking at this. It looks like a nice Sudoku game. It looks like a nice Ahsoka game. No, that's the Jedi. Ahsoka's the Jedi. It looks like a Sudoku game here, nice and clean, whereas this gets a lot messier when you have to add the sharps and flats in it. But you know, we're not going to do it. We're not going to look at it just like numbers. But if you could do that, I think that could be useful. All right. So then so that's the one numbering system. So now we have our fretboard mapped out in terms of numbers and letters just to identify them. So the next thing we have, of course, is the actual notes that are in the scale we are in, which is the C scale. Remember how we got that? We basically took in the OG tab again, we took the entire musical alphabet, we're going to start somewhere. That's why it's relative. I'm starting in C. So C is going to be in my root. And then I'm going to apply the formula of it's usually called whole step, whole step, half step, whole step, whole step, whole step, half step. That's the formula for the major scale. I'm not going to get into why we're just going to accept that a priori and say, okay, what does that mean in terms of notes? Two notes, two notes, one note, two note, two note, two note, one note. That's what it means. So if I number my notes, notice how nice it is to count the intervals. If there are numbers, I could say four plus two is six, right? And six plus two is eight. Eight is an E. Eight plus one is nine. Nine is an F. Nine plus two is 11. 11 is a G. 11 plus two is one. Why? Because you go to 11, 12, and then it starts over at one again, because there's only 12 notes in the musical alphabet. So we went around the horn, we went around the end. Now we're back at one, which is an A. One plus two is three, which is a B. And three plus one is four, which is back to the C. So now we have four notes or seven notes out of the 12 that is used to construct our major scale. So that's what this numbering system is. That's this numbering system. Now this numbering system is exactly the same. You can use it instead of this numbering system because it still gives you the number of the note in the scale, but also gives you the ability to say, well, this one is going to be major four's major and the five's major. And these are going to be minor by using the upper and lower case. Why is that the case? Why are some of them major and some of them minor? We're just using the same tool, our C major scale, and the same method, but the intervals will change given the fact that we used our whole, whole half formula to construct the cell. So when I construct from a C, I take a C, an E, skipping every other note to a G, C, E, G. But because these seven notes, because of the formula we used, it just so happens that the third is four notes away. Whereas if I do a minor construction, I do the same thing. I start from a D, skip every other note F and every other note to an E. But it just so happens here when I do that, if I look at the absolute distance, even though relative to the scale, I did the same thing, I just skipped every other note, but the absolute distance is going to be three notes away. And so that's going to be one of, that's the main difference we're going to look at with these minor constructions at this point in time. Before we get there, though, notice that this number up top, we're going to be naming the notes. So when I say that this D, this is a D minor construction that we made, we made it by looking at all the notes, when I'm looking at the key of C, and I started with a D, and I skipped every other note here. So you would think if I'm going to name it by number, I would say it was the two note, and then two, three, four note, and four, five, six note, right, two, four, six of the C major scale, you could call it that if you want. But we usually name it in relation to its root note. So that would mean that we would name it kind of in relation to the D minor. We know it's a minor because it has an interval of three notes. So we would name it relative to the minor, the one three five represents the one three five relative to a D minor. Now if we construct a D minor, let's look at that just to check that out. If I go to the OG tab and I change my key to a six, which is a D, then I'm going to go down here and say, well, there's the D major. If I go below it, I constructed the minors that have the same note in it. So there's my D minor. If I take the D minor, this is the D, the F, and the A, every other note, the two three five, there's my two three five. So there it is D, F, A. So these number of constructions, you can think of them as related to its own scale. In this case, the D minor scale. Also note that it's useful to think of this as everything being constructed from the D major, from a major scale. The major scale in Western music is usually like the building blocks of everything else. So when I talk about a D minor, I think of the you might think of the D minor as basically a, a mode of its relative major, which is the F, right? So if I go back up top, for example, and I make this a nine, which is an F, then I can say, okay, there's my F and the six note is the D, right, which is the minor. So if I go to the right right now, where our, where our mode worksheet is, there's the relative minor. So whenever you're thinking, whenever you're thinking about these, all these different scales, it's useful to be able to, to grasp in your mind that every, everything, every normal scale at least is usually built from the major scale. So that's like your home base. And then the minor scales, you can say, well, that's kind of an or a change, an augmentation of the major scale. So even the minor scale, you can kind of think that way, even though most people kind of think they have to memorize them, all the majors and the minors, and then all the modes as if they're completely different, right? But you don't want, you want to kind of make as many connections in your mind between all these things as you can. And connecting things to the major scale as kind of like the home base construction is one way to basically do that. And so that's that. So now you've got the one three five. And that's what we're going to name these notes. There's the one three five, as long as we construct something over here that has those three notes in it. Even if the lowest note is not the root note of a D, we can call that a D minor chord. Now also just note that if I keep on going up here to the seven or to the nine, for example, you might say, well, wait a second, if I go back to this note over here, there's only seven notes in the minor scale, which is over, I put it over here this time. There's only seven notes in the minor scale. How could I have a nine? And the reason we have kind of like a nine is because we're basically picking every other note. So we went to the to the to the two, the the the I'm sorry went to a D, an F and an A. And so and then we're going to go start and we're going to go to a C, which is the seven. And then we're going to go to an E. So we don't want to start saying that the numbers up here are lower numbers, we just keep on counting around the horn. And if and if you look at it from here, you can actually build this, you can think about it as being built from the Dorian construction. So if we went to the Dorian on the right hand side, then, then you can think about it being kind of constructed this way where now we can we same court same notes as the C, but we started with the D and we're taking every other note, right. And so in any case, I won't go into that in more detail, but just something to keep in mind, we might talk about that more later. So so so now what we want to do is useful once we get that kind of straight in our mind to look at these relatively simple open position chords or very common chords, then and then try to think about what it is that we're actually holding down on them. So for this one, we're holding down the D. So this is the open string. And then we're holding down these three strings. So I would do this with a worksheet and then and then get to the point where you don't need the worksheet anymore and you could put the worksheet down and try to just do this in your mind. So first I would, I would talk about the actual positions in my mind. I'd say it aloud if I can. So this first string that I'm looking at the open string, I'm ringing that out. I would say, okay, that's going to be the root note, which is the one of the D minor chord, which is the D minor. So it's the one, right, the one in terms of positions 135. And then I'm going to say, okay, and then this one, the one I'm holding down, I'm just going to name them first as their positions 135. So this one right here, I'm going to say, okay, that's an A and the A is going to be a five. So I had a one. And then this one is going to be a five. And you can start to see that position, it's kind of like a power chord position. If I look at that interval, the one to the five, you'll start to see that when you play up here, the one and the five will start to will always have that kind of interval. So let's do that again, we've got the five. And then this note that I'm playing is back another one. So this is a one. So notice when I, when I look at that, you start to look at the shape of this, you can say, Hey, look, this is a D and this is a D. That's useful to know. Notice it's a little bit larger of a distance because this string, the relation between these strings is a little bit different. Usually, like if I was playing a D here, the D would be down two strings and up two strings, D, D. But when here, if I was playing this one down, it's an open D. I have to go out to here because of the change in the interval between these two strings. All right. So then we've got a D and then down here, we've got, we've got this one, which is going to be an F and the F is going to be the three. Let me make this smaller and do it like this. And that's going to be the three. Okay. So that's the first thing that's useful to do because if you can see, if you start to see those intervals, then you'll be able to apply that same kind of interval structure when you're building other chords or trying to move up the neck, for example. And notice in particular, this, this three right here, the relationship between this is, this is one of the roots, that's going to be my D. And then my three is down one and back one. Now, this relationship between these two strings are the normal relationship in all the strings except between these two. So you'll recall that when we looked at our other shapes like a C, for example, the relationship between the root note here and this note, which is the third, is down one and back one. But when I look at this one, that's the root. And I'm looking down here, it's down one and back two. So that's the different that's going to be one of the major differences that you'll see whenever you start constructing your majors and minors. And that's due to the difference in intervals between on the third, right? The third, the majors has that four interval and the minors have the three intervals. So let's think about that in more detail now. Now notice that these intervals up top that I made right here are only in relation to the one chord. So the way I the way because I can't, it would be a long worksheet if we tried to construct the absolute intervals between all of the seven notes, right? So what I do instead is I say, look, this is the intervals for the one chord. And then in my mind, I'm going to think, which of these chords are different than what is happening on the one chord. In the case of these three notes, when we're just looking at at three note chords, the one chord is a major chord. So that means the one four five are going to be the same. And the three that the other chords, the three, the two, the three, the six, as well as the seven, because it'll be similar, will be will be different on the third here. So that means that this is the normal four note away major, which I'm always thinking as my home base. And the minors are different on the third, meaning it's not four notes away. It's a three note away third. So the way I'll start to say that in my mind is I'll kind of play this out and say, and say, okay, this if I was to just think about what I'm playing, this is the one. This is the one note of note six, which is a D, which is a D one note of note six, which is a D and you could call it a D minor or just a D for now. Right. And then because then I could say, well, this note, right here, the second one I'm playing, I'm sorry, I didn't hit it with this one that I'm playing is going to be the A. So that's an A. So the A is going to be the same. It's seven absolute notes away. Remember what this means, it's the fifth. What does it mean to be the fifth? It's the fifth of its relative scale, the scale of C, you mean what we constructed it from the fifth would be G. The fifth would be a G over here. No, not the fifth of this scale of its relative scale. So if I went to the og tab, and I went to the minor tab and constructed it here, the fifth would be the A of the D minor, the fifth would be the A. So there it is. So that it's not really useful for me to know that in that I mean, it's useful to me to understand that but I don't really want to have to go back and memorize all of the scale positions to see that's the fifth. What I want to know is what's the interval between between the one and the five, it's seven notes, it's always seven notes. So this is so I would name this to be this is the seven. This note is the seven note away fifth of note six, note six being a D. And so and so and notice I do not have to say whether it is a major or minor necessarily, because it's always seven notes away, the fifth will be the same, the differentiating factor will be the third. So this was seven notes away when it was a major as well. And it's the same it's seven notes away when it is a minor I might make this for like yellow because that's the one that's going to be changing. Whereas these do not change that's the funny one. Okay, so then so then if I did my trusty calculator and if I use my little bit of math here I can say okay well if I was on a six which is a D plus seven not five but seven notes away, that gets me to 13. There's only 12 notes in the musical alphabet. So if I subtract 12, that gets me to one, which is an A. Or if I'm doing this in my mind I can say six plus seven is 13. Then I just drop the one to give me three minus two, which is a little bit easier because you're just basically doing three minus two right. But so if but which that mainly is like minus 10, which is three minus two, which gives you to the one. And I've memorized that one is an a so you can you're able to do a little bit of math if you learn those intervals. And then down here this note that that I'm playing. Do I have my finger on the on the right note I was on this note that I'm playing is another this note that I'm playing is another one. So I would say that that's relative position one of six of chord note of note six, which is a D, which is of course a D. And then I'm going to go Okay, and then this note is going to be relative position. And here's where it's different. It's not four notes away. That's why it's yellow. This is the third. So this is going to be the relative position, three note away, minor third, I'm differentiating it from the major two ways here. I'm saying it's three notes away instead of four. And it's a minor third instead of a major third. Okay, so it's a three note away minor third of note six, which is a D, if I do a little bit of math here, I can say all right, six plus three is going to be nine. And nine is going to be the F. So let's do that one more time a little bit faster. I'm going to say in case I've messed up before I don't know if I hopefully I got it right. I've got my open note, which is here is a D. This is relative position one of note six D, which is note six D. And then I'm going to go Okay, and then I'm looking at this note that I'm playing. And so I'm looking at which is going to be this note. And I would say okay, that note is relative position seven note away, fifth of note six, which is a D and six, which is a D plus seven is 13. And if I subtract 12 or I think of it as just dropping the one or minus 10, that gives me three minus two, which gives me a one, which is an A. That's a little bit tedious to do. But if you do that a few times in your mind, you'll start to that'll start to solidify. And then here, this is another relative. That's this note relative position one of note six D is of course note six are D. And this is then relative position, not four notes away relative position three note away minor. I'm defining it specifically as a minor where I never had to before. And the three notes instead of four notes, minor third of note six, which is a D. And if I start on six, which is a D plus three notes away, I get to note nine. And note nine is an F. So you could do so then when you do these other kinds of constructions, you can do a similar kind of process, right? So if I was like, Okay, what if I looked at just these notes up top, right, I can play, because that's another way I can play this, I can just be like, Okay, so in this position, all I would have to do is hold down the F and then these two strings would be open, probably wouldn't play it so much in open position, but you could see it's a movable type of shape. And it's useful to analyze because then we'll start to see similarities when we're looking at minor construction chords versus the major construction chords. So note here that you might start with the root, which is now on the bottom, which means it's the highest tonality string, which is kind of like an inversion because usually we think of them the lowest string as being the root oftentimes, but it doesn't have to be right. So we could still think of it as a D minor, even though the highest pitch string in the three that we're playing is the root. And then above it is a fifth. And that's relationship is useful to see. And it's the same relationship if it was major or minor. If you have the root here, you will find a fifth above it usually unless you're in between these two strings, the string above it will not be a fifth between it. And then and then if I'm going to so so then above it. So this is the root above it is the fifth. And then we're going to say up one and over one, you're going to find a third. So now we have a third. So that's going to be that construction. If we looked at it this way, this relation right here is a really useful relation to kind of see between the the root note and the fifth. That's going to be like a power chord kind of string construction. So here's the D here. And then right there that relationship is going to be the same when you're looking at major or minor, which is kind of interesting because then when you play something like that, you're not really telling someone if you're playing major or minor, you're constructing just two notes. And that's like a power power chords like this is a common construction where I'm just playing those two notes on muting everything else. And so that's a that's a common type of construction. Now, the other thing that you can do here is you can start to think about, well, what if I change my fingering on these, so I'm back to a normal D minor. And we talked about the fact that when I'm trying to noodle around with this shape, I might pick up my fingers. So I might pick up like this finger, I might pick up this finger and see what that sounds like. And all the notes should work. So I can do that intuitively. I can do that and just play just explore with my fingers because I know that like we talked about last time, all the shapes that we've been working with are in the key of C. So anything that I'm holding down with my fingers will result in something that's within this blob, that blob being the the C major in open position. So so I can start to explore around. And then I can start to as you're doing that when you're getting technical with it, then you might start saying, Okay, what am I actually doing when I play something like that? So you might start by opening up certain keys. So for example, if I was on this, we'll start with this string down here. This string down here is an F. Let's cut and paste. So it's on top. So this is an F. And so what if I open that up? What will happen? Well, then I'm going to go to an E, right? I'm going to open up an E. I can't move this. Instead of the F, right? So now the F would no longer be ringing. And I would have the E. Well, that's fine to do just intuitively. But what is actually happening in there? You might kind of try to figure out and say, Okay, well, if I play an E, and I'm looking in here, that would be the the nine and this construction. Now remember, these intervals that we had up top are intervals related to the first chord, which is a major, and the only the different interval for notes one through six will be the third, where you'll have that minor third. It gets a little bit more confusing when you get out here beyond those those notes, because because now it's not going to work out nicely to be well, all the majors are similar, and the minors are similar, because now you're going to have to think about, Well, this is the two chord of the C, which might have a different interval than if it was a D minor that was constructed in a different position, and in a different scale, right? If the D minor was the sixth quarter, something like that. So those are types of questions that you'll have to address when you start looking at seven through 13. But you can start to kind of play with that and say, Okay, well, that's a legal position, because I have an open E. Now I can still think of it as basically a D, even though I dropped the the F in it. So notice the third is missing now. So it's kind of an interesting thing to think about. You're like, Okay, well, I'm still kind of thinking of it as a D. Although, when you have four notes in a chord, there might be two ways that you can name the chord. When you only have three notes in a chord, it's quite specific kind of what you're playing. But when you add four notes, you might see it in a different way. But when I'm looking at it this way, I'm saying, Well, I'm playing a D shape. And then I lift up that finger. That means I lost the third, which is a defining difference between the major and the minor. And I picked up, instead, the ninth, right? So it's legal to play. And you don't have to know all that. You don't have to name it properly and just play and just what does it sound good. But then when you're trying to understand what's happening, you might get into more detail on that. We'll talk more about that later. But just to give you if you want to play around with that, any of these blue notes are fair. If you can reach them with your finger, right? So I could say, Okay, well, what if I what if I lifted this D up? And I picked up the B. So now. So now, okay, well, the B is the 13 over here of the two, if I'm talking about the D minor two chord, again, it might not always be the 13, the 13 note, because and remember what I'm talking about that we're picking every other note. So when we get out here, we're basically picking some of the notes up that we skipped the first time around. So that B is a note we skipped the first time around and now now we're picking it back up, right? So because we skipped every other note, right, we went from here and skipped every other note to here to here to here and then here and then here and now we're picking up the B. So you can play that and it sounds a little bit more dissonancy. And you can see what that feels like. And then you can say, Okay, well, what if I picked this note up? If I and notice when I pick when I pick this note up and reveal the B, I can still think of it pretty solidly as I'm playing a D, even though I got another note in here, because this D was a duplicate. So I already have a D in the open. And now I just picked and now I just so I just let that one go and I picked up another note and I'm still pretty solidly playing a D minor chord, because the D is the lowest note in the chord. And, and I have all three notes in in there, right? So so so that would be a strong case to say even though there's four notes, I would call that a D, right, a D minor would be the primary thing you might call it. All right, so then if we said, Okay, if I'm playing this this and the so I think I did have this one off here, but let's just do the a now. So if I had an a and I let go of the a and then go back to this G, then I'm, I'm revealing a G. So now I'm going to say, Okay, that's, in this case, I would call that the 11. Now, again, if I just played this D, and I was muting this a that would and I eliminated this a now I don't have an a in there. So I would have dropped the a and picked up the 11, I would still think of it as like, you know, a D minor where I dropped the a and I picked up the 11, or you could pick up this a and then you can add it back in. So I still have the three notes in there, although the D is not the lowest note in the court anymore. Right, so you can start to see what what is happening when you when you when you do that. Now, now, this often kind of confuses people or people get frustrated when they do this because you get when you get to four notes in a chord, people start saying, Well, that's confusing, because you can name it different ways. And you can think about it different ways and whatnot. But that's actually kind of a good thing, because again, you can kind of look at things from different angles. And you can say, Well, this is how I'm thinking of it, because I was looking at it as a D. And then I, and then I'm just looking to put my fingers in places where that are inside of the scale, which I I'm thinking of legal positions, given the fact that I'm looking at the D as the two chord in the key of C, so I can do whatever I want within this position, I can hold down, you're free to hold down your fingers any way you want, within, as long as they're one of the colored notes, and you'll be playing something that is squarely in the key of C, although it might not be as well defined as just a three note major or minor chord, right. So so and that's what you want to do that intuitively, right, like we talked about last time, you want to you want to lift up your fingers and put in some some flair into it, some a little bit of different stuff. And you want to explore with your fingers and do different voicings like that, just intuitively, just memorizing where your fingers can go. And then you might try to think about it a little bit more, technically, by saying, Okay, what am I doing here when I do that? And then just map it out and say, Oh, okay, I'm dropping. And by doing that by analyzing it a little bit more, you'll start to get a better feel for the patterns. And then when you move the patterns up, it'll, it'll, it'll be easier to do it. You'll be able to explain to yourself and others what it is that you are actually doing. If you can start to name it, which is difficult, because again, music is all all these things kind of blend together. So it gets kind of confusing to talk about four note chords and whatnot. And that's why we get all these crazy names of different chords. And then you got the sharps and flats in there, they get all messy and whatnot. So, so it's useful to take like last, let's say 15 minutes in the morning or a half hour or something if you can, just to take these things that look quite simple and analyze them a little bit more indefinitely.