 Guitar and Excel, C major, A minor, scale fret number nine, focusing on the E note. Get ready and some coffee. You know, I'm jealous of those that can use their body parts to pick the guitar. I'm not jealous. I'm envious. But for pick addicts like me, the old adage applies. It's an addiction. The physical and psychological need is very real. You can pick your guitar and you can pick your nose. But you can't pick your guitar with your nose or your nose with the guitar or the guitar with your fingers. Well, you can do that last one. But for me, picking with my fingers feels like I might as well be picking with my nose. He's a terrible. It's like trying to smoke a chicken bone. Which is also doable, I guess. But it doesn't seem very practical or safe. Um, it doesn't seem very safe. Like considering if a string breaks while you're picking with your nose, it could poke your eye out. You'll shoot your eye out, kid. Merry Christmas. Howl, howl, howl. So if you do try picking nose style, you may want to wear glasses. Where's your glasses? Which I do wear, but not because I pick the guitar with my nose. I wear them because I can't see. Anyways, I feel like I'm rambling now. So let's just get into it. No fill. Not into our nose. I mean into the guitar. Using a pick. Or at least I'm going to use a pick. Use whatever you want. Just don't sue me if something goes horribly wrong. Okay? 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 to the first tab to get that overall overview. Noting we've been looking at the C major scale and its related modes. We started looking at them in open position, which we defined as frets 0 through 3. Noting that this E represents the low or heavy string, the one closest to the ceiling. Funnest way to map out the notes in open position is to create the chords from the scale we're working in starting with the one chord for us, that being the C major chord, mapping it out in open position, discussing it in detail. We then went to the 4 chord because it also has a major chord construction, mapped it out and discussed it in detail. 5 chord the same, then to the 2 chord because it has a minor chord construction, then the 3 chord the same, the 6 chord the same, and the 7 chord which has a diminished chord construction. If we were to map out all the chords we constructed and the notes within them in open position, we would be mapping out in essence the C major scale and the related modes which would look something like this, the blue notes in open position. We then moved to position 5, learning it not first with chord shapes but rather with scale shapes, pentatonic and major scale shapes that we can link to the chords that we learned in open position. We discussed this shape in relation to every note within our scale that we're focused on. We then moved up to the next shape which is going to be starting on fret number 7, did a similar process, discussed the pentatonic major scale and then focused on every note in the scale. And then we're now looking at the next shape up which is of course starting on the 9th fret which we could call, I would call the 3rd position or you might call it a D shaped position. We discussed the pentatonic, the major scale and now we're looking at each note in relation to these shapes. Quick recap of the color scheme that we have thus far because it looks chaotic, I know, but we note that this is the fret board. This E represents the low or heavy string, the one closest to the ceiling and we're imagining that the first thing we lay down underneath all of this is all 7 notes out of the 12 note musical alphabet that are in blue on the bottom. So everything that has a color in it has blue on the bottom and then we put on top of it the 5 note pentatonic noting that the pentatonic is in green so it lays on top of the blue but the pentatonic 5 note scale only fits perfectly into the modes of the C major or the major mode and it's relative minor or Aeolian mode and we're basically now looking at the 3 note which if we were to focus on that note as the focal point means we will basically be playing in Phrygian and that means that when we look at the 3 notes that we construct we do make a minor chord construction but it doesn't fit perfectly into the pentatonic scale because we have these 2 notes in our major scale that we're using to construct these chords and we can see that this B for example is going to be a fairly crucial note when we construct the chord from the 3 note of the C major scale so if you're thinking in terms of pentatonics we had to add the B in order to make that yellow so now we've mapped out the major notes we're focused on the green being the first, the third being the red and then the yellow being the fifth of the E minor that we're taking a look at then we have these brackets which are representing us breaking out the fretboard into chunks so that we can play everything hopefully in horizontal positions or in vertical positions as opposed to horizontally and we can name those shapes so let's go through those quickly here we have the first shape I'll pull out the trustee guitar where we said that we had we can name that shape the shape number 4 we can just number it, I typically will do that you can also call it a C shape now why would it be a C shape we're looking at the E minor chord that's constructed from the C major scale and you could call that a Phrygian mode that we're looking at but usually when we name the shapes we name them based on the related major so in this case we're looking at the C major and if I build a C chord you get a C shape that C shape will fit into multiple positions if we're talking about a 7 note major scale that's only one unique of those positions if we're talking about a 5 note pentatonic scale so that's why we can, if we keep our mind straight on what we're talking about we can use that shape of the chord to name the scale position but we're focused here on the E so with regards to the E then we'd have like an E minor shape which would look something like this blue brackets are doing so in this bracketed area we've got then the E minor shape which would be the open E here this B, this E and then these three I know that blue is a little bit hard to see but that's what we're looking at here now it's on the outside the overlap between this blue and the next blue is where we get on the inside leaning forward those will be on the inside so then with this purple shape then is what we can call I would call it shape number 5 we can also call it an A shape why is it an A shape? because if we look back at the C the related major and pivot around that note we get an A shape leaning forward which most people see like as the notes on this side of the A shape so it would be this C and then leaning forward to those three but we're not looking at the A right now we're trying to figure out E's right because we're on an E minor so here's the E minor here if I was to lean that forward we get this so here's the E up top here's the E right here so there's the octave here's the E and then we get basically a D shape that we get down here which looks like this now that so that's this shape so it's inside of the blue and then now it's on the outside as we pivot to this shape here and here you might recognize that shape more easily finger in it like this because that's how we play it it's a D you might call it a D shaped or D minor shaped E minor chord alright so that's going to be this position and then we move from that position to this position there's only five positions so we're going back to position one it's typical to call this one position one or you might call it a G shaped position and that's because if I go back to the C the C is right there in that position and I can build this chord from it that looks like that or if I looked at this shape it would be a G shaped C major if I looked at it from the perspective of a C but again we're looking at the E's here so the E if I go back to the purple shape you can see I'm kind of grabbing this E at the bottom with my pinky and so if I lean that forward then I've got my E right here and I can basically make this shape with it so that's going to be boom boom boom these three notes and then I can also basically lean up to this E right here so this shape so this boom boom boom is what you might call a like a C minor shaped E minor chord because it would be like a C would be right here and you drop the third if it was a major and then you drop the third a half step and there's the minor and then this is kind of like the bottom of that shape so you can see these two are kind of linked together this little triangle and then you can reach your pinky up this way instead grabbing it up there so there's that one and then we go from the red to the position one to position number two which again we could call an E shaped why would it be an E shape because if we looked at the related major scale and we built a chord shape from it it would be up here now we're pivoting around that C and it would look like that which would be our normal bar chord if we were pivoting around the C boom the fifth and so on it would look like this E major bar chord would be up here up there and so that would be that but again we're looking at not the C we're looking at the E and with the E we were pivoting around this shape so this E right here so if I pivot around that one we get one of our most common bar chords starting on that second from the top string which is an A minor you might call it an A minor shaped A minor shaped E minor because if it was an A minor it would look like this an open position that would be an A minor but if I move it up here and bar that off we have the E minor and so there's that shape and then we go from two to three and so the three you might call it a D shape this is where we are focused right now because if I go back to the C and I say there's the C right there I can grab this C and this dude or you can see this little triangle down here that's the D shaped C major but again we're looking at the E so with the E we could say we could see we're grabbing it up top so one way we can play it is basically this way this E boom boom boom and you'd call that possibly a G shaped or a G minor shape if you want to call it G minor shaped E minor chord and that one this one's a little bit tricky to see the minors often times are a little bit harder to see when you're trying to compare these shapes as you move them up to like open position because sometimes we don't play all of the same shapes like an open position but you can see like if I was to play this shape as a G like this and if it was a G like this then I would take that half part of that shape if it was a major which would look like this boom boom and then I'm going to drop the third so the third would be right there and I'm going to convert it from a major to a minor and that's one way you might say okay I get why it's called maybe a G shaped or G minor shaped E minor chord it's because it's the the one three and the five so that's the idea we're going to be focusing now on this shape which again I would call shape number three or D shaped position although we're not focused on the D shape because we're playing around that three chord so just to remember how we might do that if I was in open position here and I wanted to practice playing around the E then I could just throw the E in the mix playing in like a C major C major A minor and then throw in like the E minor back to the C major and then try to make the C the tonic but I'm playing but I'm throwing that minor in but if I want to practice in the E minor you could like switch of course to an E minor scale but what we're trying to do here is practice the chord while still using the same scale which that's a different which will help us kind of practice going into the mode of the Phrygian and it'll also get us an idea of a better idea of one shape that we can map out all the way across the fretboard so if I want to do that I want to make then this this the tonic so now I'm going to build like an E minor we'll do that in open position and then I can just start and stop on the E so I can practice more my E minor as opposed to just throwing it in with the major here's an E minor E minor E minor A minor minor okay so then it's usually not too difficult to make the E the tonic it's a pretty common it's a pretty common mode the Phrygian so in other words to resolve to kind of make it sound like the center not too difficult but we can always use our trick to say hey look what's the fifth of it the fifth is a B so here's a B right there and normally the B in our if I was to construct off a B it would be that funny diminished which is a chord shape that leads back possibly to the one fairly well we would like to have something that leads back to the back to the E so I can kind of cheat and say well why don't I take this B and I'll make a major out of it so that would be like an A shape you know bar chord in this position and that kind of leads back so then we can kind of we can kind of cheat by doing that so I can say hey look when I'm trying to go back to the E to make it resolve maybe I throw in a B major even though it's outside of our scale we're stepping in the lava we're hitting some of those toxic white notes we're getting some lava on us but once we resolve we'll go oh I see why we stepped in the lava okay so we're going to say here's an E minor here's a C A minor and then if I go back home see how that sounds maybe a little bit off but when we resolve it to the E minor then it should work so that's a little trick that we can basically pull in and try to make that the tonic which is common even if you were to skip by the way to an E minor scale we don't have that resolve back like we do with the majors so that's a common thing you can do with the minors just in general even if you went to the E minor scale instead of playing around the Phrygian then you'd have a similar technique possibly alright so now if we bring this up to this area this to our green area strategies could be that we play around again we're going to kind of play around the 3 which means we're going to make it the tonic meaning we're basically playing in like a Phrygian but instead of renumbering the system to call it the 1 which is what we would do modally which we'll talk more about later we're going to keep it as the 3 and just say hey look I'm just doing all the same stuff but I'm going to make that the tonic by starting and stopping on it we can then practice in this position by basically playing all the chords in this position so all chords all notes should be able to be played in any within the 1 to 5 fret kind of shape positions we have here that's the beauty of the guitar however we of course are only mapping out one chord at a time in a particular shape so although we've gone over the different shapes you might not be completely comfortable making all the switches in this shape we might practice that more later but we'll just touch on that now another technique that you might use is of course jumping to where you know so we probably know best the at least a few chord shapes better in open position so we could try to jump from open position up to this position so that we can practice noodling around and playing in this position while also surrounding it with things we know in open position realizing that as we jump we can also play open strings because we're in the key of C in the related mode or the Phrygian and all the open strings are in the chord that we're working on which is nice we can also then okay let's we can also practice blending from the prior shape to this shape so we can play more smoothly horizontally possibly focusing in on particular fingers that we can move from one shape to the other so we can see the lines as we're blending the shapes together so we can kind of blend them together in our mind and find ways that we can move horizontally and then of course we can keep going back to the previous shape and find lines that will move us from the prior shapes into the current shape so that we can kind of more seamlessly move horizontally up between our shapes which can give us different sounds in different lines as we move up so that's going to be the general idea let's first just play through the shape and I'll do this like we did before remember the shape kind of starts here on a D but we're not going to we don't want to start on the D right now because I want to sound it like I want to make it sound like we're playing around the E which means I want to make it sound Phrygian ish so we could make this the one which is what you would normally do playing modally but I'm going to keep it as the 3 it's a little bit wonky to kind of count up with the 3 but I think it's actually good practice even if you're going to switch to the mode so I'm going to go from 3 to 3 so I'm going to take this number I'm going to take this and I'll put it right here we're going to start on that E and then we're going to move up to this E and I'll just count starting on 3 so there's our E that is the octave of course which is another thing to point out here this heavy E is good right so it sounds a little funny because if I play it with something underneath it because we're pretty far up in terms of the distance of tonality of this low note versus the higher notes up here but that heavy E you can always put that in place and that should be okay too so something to keep in mind as we go alright so we're going to say this is going to be the 2 or the 3 so now I'm on this E down here and then I'm going to play up to this E starting on the 3 again so now I'm on this E I'm going to finish the shape by just saying 3 4 3 that brings me back to this 3 again then I can walk it back the other way so we can say 3 2 1 or 8 7 6 5 4 3 so that brings me to this E and then I'm going to walk that back to this E so I'm going to say this is going to be 3 2 1 or 8 7 6 5 4 3 and so now I'm on this 3 and I'm going to say 3 2 3 and so there we have so we can kind of practice the same scale notice it's different though right practicing the scale starting and stopping on the D is a different exercise than starting and stopping on the E you're going to really get that shape in your mind if you do if you start and stop on all the modalities but you'll also be able to kind of hopefully switch between the modes if you practice you know starting on stopping on different modes which I'm practicing too I'm not you know I'm an accountant here I'm John but but you know I'm practicing these things so here this is what I'm doing so the next thing we can look at is we can we can see the shapes that are in here so you'll recall that we had before a we called this a G minor shaped E minor right because this is the 1 3 5 so it's a little bit hard to grab that one because you got to use your pinky typically and it's a G shape because this would be the top part of a G shape if it was a G major and then you'd have these three in here that would be like this shape but then barring off this stuff and then you're flattening the third to get the minor that's why you might call it a G minor shaped E minor okay so you've got those three you can also play this way so this one is going to be it's inverted on the bottom now so you've got and that's kind of connected to this shape back here which is a little outside of our of our shapes but that's probably the most common that's like a really comfortable shape right there and then we but we can convert that to this that's in our shape so we have that the bottom of that shape is back here so we've got these three so we've got those three which is a high pitched and somewhat inverted again it is totally inverted because the E's on the bottom you could when I play this I've been experimenting with reaching up to the E like right there so that way you lose the third but you get like two E's in it and you get this heavier E basically on top so there's basically that one but I think the major ones in this shape for me is usually going back to this shape and then this shape which ties into this shape which is kind of crossing over the border of the two okay just to touch on the chords that we've learned in this position now again we've only mapped out one chord that's why I don't want to spend a lot of time doing this but just realize that if you look at the at the C we looked at all the majors right so what we can play together with this is we said the C's right there whenever I see the C I know that the one four five is going to be the one four five major's so and that's in an L shape so here's the C so the C the F and then the G so this C was this D shaped C that's what the shape is kind of named after that would be this C and then boom boom or you can play just these up top right but you're probably more likely to grab that there and then underneath it we've got the F and the F is the one that you can play you can reach up top this way so there's the F and then you've got the G which is an A shaped G so you can play that's our so you can play that one and then we also did the D minor so the D is up top so that's the full bar chord you can play like that it's kind of difficult to bar sometimes so you can play it like this so those are going to be the major shapes that we've looked at thus far well the major and minor shape that we looked at thus far we also noted that that B is something that we can use to play around the E which is basically like a Phrygian because the B is the fifth so even though it's a little bit outside of our scale shape when we're going back home in this position we can take that and build a major chord which would basically be a D shaped B major chord and you can use that possibly to go back home to the E minor use that as a resolve now again since we're only mapping out one chord at a time up top and we probably know the open positions better let's try to use our jumping strategy so that we can just kind of start to play around the E up top as it fits inside of what we already noted in terms of scale structure and we can use our open chords over here so let's jump up to like this E we're going to jump up to this E remembering that that E also I can play the open E and then that's the octave of the E up top so if I'm around here I know that I have my shape that I can play like this that's great but then I have to play this with my pinky which is kind of a pain so I know that the heart of that sound is the one and the three so I could basically get all I really need I don't really need the fifth to get the flavor of the E I can play it like this and that would be fine I can also play like this and I don't put my pinky down and I play that open E which is going to give you a kind of funky sound because this is a different octave but you still have everything you need because now you're playing this E back here with the third and the fifth also up top if I was to noodle around with this E I can see I have this basically box right here so I might be jumping to the E and then playing back and then I could slide forward to that F and then possibly reach down there now note one of the things that makes a sound Phrygian ish to me is the fact that the second note is a half step up so sometimes I might actually move up this way so I can really kind of hammer on that F right there that'll make it sound Phrygian to me sounds kind of heavier oftentimes possibly just because I'm playing on a guitar which has that heavy E string on it so if you're playing like rock and roll or metal or something like that the Phrygian might be something to kind of play around with so in any case let's try to say if I'm playing in open position here and I was just to play an E minor an E minor I might just say E sometimes but if I was playing an E minor then I can jump up here and then back up back so I'm jumping up see I'm hammering on to that back to an E minor major sounds a little out of place but resolving back to the E minor so we can noodle around that one and then I can say okay well what if I look at maybe this E right here and see what I can jump to from there so we had this E and so now I'm going to be down here on this E so within here we're going to say okay well above it I've got my my B above it and then I've got this little shape of course which is my that B and then the G could give me give me my chord so that's going to be here so if I'm down on the shape I might end it with that I also know that behind that which is outside of my shape but it's a common structure to pick this one up because that gives me kind of like my A shape which is right here A shape if I moved it up this way and then I can also reach my pinky up to pick that one although that's uncomfortable so you're probably going to do either this or move to that and then once you're there you might move from here to that right so you're going here here those are three ways to kind of play this way right up this kind of angle the E minor from that shape so we have that and then if I'm down and if I'm in here I have double stops I've got double stop, double stop double stop up top so I know I can play this whole little box right there I can play that up so if I'm on and I also know that I also know I also know that this whole column column this column and this column in the 10th and the 12th that whole thing is good so I could bar off when I'm here and I'm here so I could say okay if I'm double stop to here but here I can play the whole thing here I can play the whole thing alright so let's say we work that into it see that note boom there's my hammer on again from the E to the F I'm going back up to this high one that we were playing before the G minor shaped E minor then maybe I go to a C double stop, double stop, double stop okay so then we can say okay what about this one we can say there's an E up top here now I messed up again we have an E that's up top there so if I jump to that one again I have my open E and there's the octave so that's kind of interesting because you can actually play this one so it's not usually when you play this position you're playing like these three which gives you your E minor inverted so one way you cannot have it inverted have the E be the lowest one or at least lower is to play these two which is kind of interesting I don't normally do that but I kind of like the idea and so I have that and then I've got this whole space down here which we can see we've seen multiple times in the prior ones that it's kind of the inverse of this one you've got the two shapes connected here the box and then the two outside here it's this way so when I'm playing up top I can go when I'm playing down here so we're playing it that way so if I start on that E I can play those together and then maybe that double stop, double stop, double stop and I know this whole bar is good so let's say we're in an E E minor and then I'm going to jump up to this E and then I can do my hammer on thing again with this E so I'm just going from this E to that F sounds kind of double stop, double stop ringing out that open E walked it up to this one E up top so anyways we can jump around between those so the next thing we could do is say okay well what if I was trying to blend the shapes together a more smooth transition so if I want to move to that E I could say okay let's try to connect that to the prior shape so here's the green shape if I go back to the prior shape then I can say well there's an E like right here and that's part of that's part of basically this this E shape right here so if I'm in this shape that's my A kind of shape meaning this is my A minor shape moved up here so this is an A minor shaped E minor chord so I can use that and then possibly noodle up this area maybe to go up to this E up top so I can say okay I'm going to look at my pointer so you don't always look at the pointer notice down here you could say here are my two fingers right there which naturally fit into these double stops so maybe that would be an interesting just a little bit different place to start you might say okay I've got these two fingers right here what if I move them up boom boom so that fits perfectly into this shape so you can play this shape so I'm going to double stop moving up into this shape and then pause and then I just walk down to basically that shape so that would make sense with something other than your pointer so you might do something first up top I might say first I'm going to reach from here to up top to here to this G and then maybe I'll go back to these two fingers and then move them up in some way right so I can go back and then maybe I just to try to find something okay and then I could go with my pointer in this position so okay it's like okay my pointer is right there so if I take that one then of course I could noodle around this box up top and then and then possibly finish off on that E so if I was to say okay if I'm here I've got my hammer on to that F and I can move around this box so there's the one and the three up here and we could take this shape here and try to find my way down to this bottom E instead and then see if we can get down to basically this E so I'm going to say there's my here's my shape there's the top E here's the octave that my pinky is on so I could try to get my ring my pointer to that pinky position so I just basically maneuvered my pinky up my ring finger up to where the pinky was and now I'm up in here okay so then I could say alright what if I move back from this position position one and we move back into position position two back into position one I should say so now that E is the pivot point if I lean back from that E I've got this shape which is basically a C shape we might also focus on this E down here so this would be like a C minor shaped E minor chord that's a little bit difficult to grab for a lot of people so I'm grabbing this this and this a lot of people might start with this shape here which is this little triangle boom boom boom but the E here is is now on the bottom so it's inverted so you can convert this triangle to up here so if we're there then I could say okay well now my ring finger whatever way I play it is right there so it's right there and I can move that into my most familiar shape which is this one and then turn this one around into my A shape and then basically maneuver that one from there so if my ring finger my pointer finger is here I'm playing this I know I can walk this B and up to that C there's my finger I can walk that up to there easy I might do something like this play a three note one which is basically an A minor but I'm not really thinking chords too much I'm trying to get my finger up to this one because that's where I'm going to pivot around on my pointer finger so now I'm on my pointer fingers here and I can reverse that forward so now I'm there and now I have my same problem where so then I just took the top route and brought it back up to this one so we could take that same that same thing and go the bottom route right I could say well instead of pivoting up to this E I'm going to come down to this area maybe and see if I can reach up to this E like this way with that A shaped E and then maybe go down to this one so I can say okay what if I'm if I'm on this shape right here here's my pointer again I could go into here and now I'm in this area so I can kind of noodle around this area where I have my hammer I have my hammer on so now I've brought my finger up to basically that C right there and so then within that position we might so now I've basically brought my finger up into this this position which is our like kind of minor shaped an A minor shape which is a nice position because that you can you can convert that hopefully I got that right let me let's bring it back to the next shape one time we're going to say there's this shape so that was that E right there that we focused on with position one if we lean back to the next shape then we have this E so we can say alright that E if I go back to this one this is an open position there's the E right there the octave is right there so there's my E if I was to build a minor chord it would look like that which is a D shaped so now we've got boom so this one to that purple to here and to here that's my D shape E minor but it might be a little bit hard to reach that one because of this finger right there so you might play it like this way just play these three just play those three notes and that can kind of help you to lead up your finger your lead finger then is on this one now so the two fingers I can use to move up might be this finger with this E which is now this finger and I can move that up in position playing around again this kind of position so I might lead with that one going and so now I'm in this position so now I've got this A again and now I've basically pivoted around this E up top so now I'm going around this E up top again and that puts us into our same position up top which I could take the high road on it something like that and then let's just do the whole thing so let's say that we are in open position so we have the E full E like this people play the E minor different ways you might play the E minor like this in which case your pointer finger is going to be on that B so or you might play it like this so if your pointer these two are on that position now so I could move these two up together and say could I do some double stops from here to here that I can go all the way up on that position so I might play the whole thing double stop these two and then there's that E right there so that's actually an E minor right there you don't have to play it in that order too I can go I can move just one of these fingers so there's an E minor leaning back this way and then I can lean forward going that way there we have that so you can find your lines obviously you can do the same thing going back and forward I'm kind of focusing on going forwards but clearly you want to go back the other way too which would be great let me just one other thing again with these minors I find enjoyable ringing out that open minor so and just letting that ring out as you move up the guitar which is something you can do and so if you put your finger or cursor too maybe on this B then I can alter between an open E so now I'm altering between an open E and that B and then I can also grab that G which means I'm basically playing the three notes but altering between them between the E and the G so I can do that shuffle pattern I can take my finger off too which reveals the A put it back on so shuffle pattern I can also grab the one behind it even though it's white because that's like the blue note if it was an E minor scale but I think it works in Phrygian too and then I can kind of play that up so I can play every note as I go up here that I'm going to go here playing the open E D and then the A and then I'm going to move to here play the open E the B and then go to here play the open E the F and the C and then go to here and play the open open play the open E the F and then the D and then I'll go to here and I'll play the open E the E here, and then basically finish it off, right? So I'm gonna say, all right, if I started back here, we could play like, I could just follow the string up and just play what I can play, reaching from that string, all right, so I can just go, and then I'm just moving from that B to the C and I can see from there, open E and the C. I'm reaching up to the A above it and then back and then I'm gonna move up to the D, reaching up to the E, to the B, open, and then back to the E right here, so now I'm on the E, so here it's fun to do, you've got that note and the third and then there's the double E, so that's kind of in the middle, you get the double E, which gives you that heavy sound and then I can go up to the F. And then I can go up to the G and then go up to the G and kind of close it up there and you can go back, right? So if I was to do that, we can continue going. You can also follow this top string kind of back as well and then alter between the open strings, so when you're going back this way, just messing with that open string and then you can let the A ring out as well sometimes, right? And that will always give you that bass line because, and so that is nice, because that gives you the ability to play other things and always return to that bass line to give you that bass to that bass E. So anyways.