 Guitar and Excel, interval and modes complement and parallel worksheet part number seven. Get ready and don't fret. Remember the board's been fretted, so you don't have to be. 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 presentations. So if you want to build this from a blank worksheet, you may want to begin back there. However, if you do have access to this workbook, there's a bunch of tabs down below, including the first two tabs representing the end product, the final worksheet that we will be constructing, the numbered tabs providing the same starting points, tying out to the video presentations as we work through the practice problem. The blue tabs starting out where we left off last time. Let's do a quick recap of what we have done thus far. We started out with the musical alphabet and we listed our musical alphabet. We then numbered the musical alphabet. We then had letters and numbers for the musical alphabet. We created our key here. This is the key that will change the scale that we want to focus in on. We're usually looking at the key of C, but we can make this whatever we want starting and shifting everything from C to a G. For example, let's go back to the key of C. So now we have the same notes, 12 notes, but now we're starting on the C as opposed to the A. We then have our ruler, which is always going to be the same in our worksheet, meaning we have a ruler starting at 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12 steps up, which are representing half steps or notes up. We then named those intervals, which we can call unison, minor second, major second, minor third, major third, and so on. We used the symbols for those intervals and then we combined the number away from the starting point or the relative starting point, the C, and the interval symbol name so that we can start to map those out. We then used our formula to get the notes in a scale, whole, whole, half, whole, whole, whole, half, getting us back to the C, so that we can create our worksheet on the right, providing us the 7 out of the 12 notes in the key of C, providing Roman numerals telling us whether we're going to play a major or minor chord. We have our circle of notes on the right helping us to map out in a circular format, which is a little bit easier to visualize sometimes, and then we've also mapped it out down below with the intervals. So now these are the intervals, all of which are related to the C scale. So we can look at all these notes and then we can look at the relative position down here to see the interval as the interval relates to the C note or note number 4. We then did a similar process but shifting to the Dorian mode. So now this worksheet then is the Dorian mode, which is the related mode to the key of C, D Dorian that is, and now this is the one, so that's now the zero point or relative position. So now we're looking at that as the relative position. We went to the Phrygian and so on and so forth. So in essence, we looked at the complement or basically the relative modes, which means if I take all of these notes in the C major scale or whatever the related scale I'm looking at, and I was to construct the chords basically taking every other note but construct it from the C major scale, I would in essence be building the related modes, right? These are going to be the related modes that are starting from these notes. Useful because when you switch in music oftentimes you might go and switch to the complement modes. That might be one technique that can be used which has all the same notes but a different central point. The other thing you might do is you might want to keep the same central note, the same home base, but then look at the parallel modes, meaning the C is going to stay the same, and then the notes around the C will change. So that's what we're going to do now. So to do that, what I can do is I can copy this whole worksheet over, which I've basically already done here, but if you haven't done that, what you can do is you can go to your worksheet. If you're working on a worksheet, I'm going to copy it over because I want to have two worksheets, one being the complement, one being the parallel. To do that, you can hold down control, left click, and drag to the right. So that'll make another worksheet. So now in the second worksheet, we're going to just make this minor tweak to fix this up. So what we're going to do over here is we're going to say, all right, this is the same major, that's the same, everything up top is the same. But when I go down to the Dorian down here, I don't want it to switch to the key of D. I want it to stay in the key of C. So all I'm going to do is take this yellow bit right here and change it back to the key of C, a four. So now it's relative to the key of C again. Now it's in Dorian this time, and I know that because we changed the formula. So this formula now is starting from the relative position in the key of C, the two note, which would be the D, it would be starting, but we're not starting on a D, but the formula will be the same that we populated before. So we have the proper formula, which is a whole half, whole, whole, whole half, a whole to get us back to the C Dorian instead of the D Dorian there. So there we have it. And I believe everything should map out properly. So now you can still see that we have the key of C as the root here. And we still have that root being the zero or the perfect first, everything being measured as compared to the key of C. The thing that's changed here is that now the notes are actually different, right? We don't have we don't have the same notes because we're not talking about the same complement scale. We have a different scale, but one which starts or has the same root. So these notes, CD, there's a sharp, you can tell by the sharps and flats, the sharps and flats here are going to differ. And so and you know that the key of C was didn't have any sharps and flats. So you can see it's different, but it still starts on the C. And then I could just do that all the way down. So I could just simple, simple fix here. I'm just going to say that eight for the Phrygian. I don't want to make it the Phrygian that starts on an E. I want to make it a Phrygian that starts on the C again. So once again, it starts on the C, but I know the formula has changed because this formula is being drawn from let's do it this way from here. So even though this is in the key of C, the formula was whole, whole, half, whole, whole, half. Now I'm starting here, which means I'm basically starting that formula from the Phrygian position. But I'm still using the key of C as the one note. So now again, you have a different set of, of notes over here. So you have different notes to choose from if I was playing in the key of C major. And then I still want the C as the root, the one, but I want to switch to the Phrygian. Then I have a different set of notes that I can basically choose from. And that's what we're doing here. Okay, so then let's do it the next one. We're going to go down. This is so easy. It's so easy. It's incredible. It's incredible. It's incredible. Incredible. Elefante. I like elefante. That's the first word I think I've learned in Spanish. Elefante. Anyways, I don't know what I'm talking about. This is going to be the Lydian. So Lydian, again, we have the same thing here. I've been doing this too long. I need food. I think I need food. So we started down here on the Lydian. But now it's in relation to the key of C. So again, you've got a different set of notes in the Lydian. So let's do it again. Let's do it again. And we're going to go then here, once again, instead of the G, we want to bring it on back to the C. Bring it on back to the mixed Lydian. And if we look at the form you lie, the form you love, and the form you love don't lie. The form you love don't lie if you do it right. Okay, so we're going to say it's not a formulae or formulae. So that starts from here. And that's going to be the mixed Lydian. And then we're going to go down again. And this is the minor. But we're going to start it not on the relative A minor to the C major, but the parallel C minor. So if I switched, and which is quite common because the minor is the most common other mode, which you could call Aeolian. So now we're just going to use the minor mode. But instead of going to the A minor, which would be common to do, we're going to just use that minor formula and switch it from C major to C minor. And then again, you have a different set of notes here, but you're keeping that C as the central point. As the tonic, the tonic, you need the tonic in there. So we're going to put this up top and there's another C. So same thing with the Locian. So now we've got the Locian. And I'm going to say this is going to be equal to the formula. Let's go to the formula up top. Oh, wait a second. I didn't want to delete the formula. I just want to show that we have that I was thinking about something else as I was doing this. So that looks right. Now, the problem that I was thinking about here is that the let's do this is that these formulas are no longer working. Are they? I don't think they are. So I could just copy the same formulas we had like I could. Let's do that. Like I could go to the Dorian here. What is that working? We've got the Dorian here. If I looked back on the on the last one, we've got the Dorian. Well, I can look at it this way. Well, let's let's look at it this way. We're going to say, okay. So on the Dorian, we had the majors are the three, four, and seven. And over here, I have the Dorian. So it's not working. I don't think these are working. So what I'll do is I'll say this is equal to the prior tab, the Dorians. And I'll just copy it from there. So now we should have that should be fixed. So now that, okay, so let's just do that. And then it'll be fine down here. And then the Phrygian, I'm just going to say this equals the prior tab to the Phrygian. Boom. And I can copy that down. Copy that down. And then the Lydian, this is going to equal the prior tab for the Lydian. And then copy that down. And then the Mixolydian is going to be equal to the prior tab for the Mixolydian. Boom. I could just double click, by the way, to copy it down. And then we've got the minor equals the prior tab on the minors. Boom. And copy that down. So we've got, that looks correct because the three, because the three, the one four five is minor. Okay. And then the two. Okay. And then we've got the Locian. Locian is going to be here. And we copy that down. So there we have it. So now we can, we can, we can look at our relative, our relative interval worksheets now using these two common methods, going from, going from the compliment modes to the parallel modes. Now, the other thing I kind of wanted to do is if I go back to this one, for example, and I go up top here and say, okay, we have the notes that are that are in the scale are here. So I might want to then like highlight the notes that are that are actually the seven out of the 12 notes. So I might go through here and just say, let's make this like orange. Right. So there's the C. Here's a D. Here's an E. Here's an F. Here's the G. And then we have the A. And the B. Just so we can see now if you want to look at all the notes, see, these are the seven notes. If you looked at all 12 notes starting from the C, then we would have the C and then we would skip to the D, skip to the E, skip to the G, skip to the A, skip to the B. And if we did that all the way down, we could say the Dorian starts on the D. So I'm going to say we have that one. We've got the E. We've got the F. We've got the G. We've got the A. We've got the B. And we've got the C. And then a repeat on the D down here. So I repeat, I can repeat the C here too. That's a repeat. So we can do that all the way down and say, okay, and then if I'm looking at the E, this is, we have the E. We have the F. We have the G. We have all of the non-sharps and flats because we're looking at the relative modes to the key of C. We've got the B. We've got the C. We've got the D. We've got the E. So that might make it easier to kind of see the relation to all 12 notes here. So I'm going to say, let's do that here. We've got the F. We've got the G. We've got the A. We've got the B. We've got the C. We've got the D. We've got the E and the F. Boom. And there's the Lydian. And down here, mix the Lydian. We start on the G. We've got the A. We've got the B. We've got the C. We've got the D. We've got the E. We've got the F. And we've got the G. Why don't I pick these up too while you're leaving them out? Okay. And then we've got the minor where we have the A. We've got the B. We've got the C. We've got the D. We've got the E. We've got the F. So I had to sneeze. I've got the F. I've got the G. I've got the A. And then all of those, I think that's right. And then on the Locrian, we start on the funny B. Funny B. And then we go to the C. We go to the D. We go to the E. We go to the F. We go to the G. We go to the A. And back to the B. Boom. Now we could do that same process over here. And now you'll see it won't always be, of course, just the notes without any sharps and flats. So it starts off the same, C, D, E, F, G, A, B, C. That's the same as what was before. But now we're going to the C, the parallel on the Dorian. So now we've got the C. We've got the D. But now we've got the D sharp. So we're going to say that. And we've got an F and G. And then we've got an A. And then we've got the A sharp. And we've got the C again. So we'll go ahead and make those yellow. I think I got that right, hopefully. And then if I go down again. So now we're on the Phrygian, but we're starting on the C. So now I've got the C. I'm just looking over here, C sharp. And then this time I've got, well, let me do that again. We've got the C sharp. We've got the D sharp. We've got the F. We've got the G. We've got the G sharp. We've got the A sharp. And we've got a C making those yellow. So it's getting messy with the sharps and flats. So now we've got the C in the Lydian. We've got the D. We've got the E. We've got the F sharp. We've got the G. We've got the A. We've got the B and the C. Boom. And then with the mix of Lydian, we've got the C. We've got the D. We've got the E. We've got the F. We've got the G, A. We've got the A sharp and a C. And then finally, or two more, we've got the mix of Lydian. I'm starting the minor. Starts at the C again. And then we go to the D. We're going to the D sharp. Because this is the C. We started on the C. So T sharp. I might have said A because I'm so used to doing that. F. And then the 11 is G. G sharp. And then A sharp and a C. Hopefully I got that right. Getting a little tired here one more time. We've got the C. We've got the C sharp on the Lydian. We've got that funny half step starting it off. We've got the D sharp. We've got the F. We've got the F sharp. We've got the G sharp. We've got the A sharp. We've got the G sharp, A sharp back to the C. Did I get that right? That was a little messy. We've got the C. We've got the C sharp. We've got the D sharp. We've got the F. We've got the F sharp. We've got the G. We've got the A sharp and back to the C. So there it is. So there's our worksheet. Now next time, we'll might get into some more stuff that we build these worksheets on the right where we'll dive deeper into our mode constructions with this colorful worksheet where you can kind of see everything in one spot. So useful to use, very useful to build. If you actually build this thing out, then I think that's just a good exercise to try to understand the modes and how they're all related as well as your interval information.