 Guitar and Excel, open chords, C major scale, E minor 3 chord, worksheet. Get ready, because although it's not fun to either fret or be bored, it is fun when you put them both together, resulting in the fret board. Because the fret board gives you something to play with, which eliminates the boredom and distracts you from the stuff you were fretting about. So let's do it. 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 fret board, 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 five example tabs and an OG Orange tab. The OG Orange tab representing the original worksheet that we put together in a prior section, mapping out the entire fret board, giving us the entire musical alphabet in letters, numbers, and combining them both, providing a key that can be changed, which will allow us to easily change the scale constructions that will create our worksheets on the right-hand side, providing the scale and the chord constructions that can be built from that scale. We then wanted to focus in on the C major scale and the chord constructions from it in open positions, starting of course with the one chord, the C chord, that's what we did on this first green tab. We're looking at open position, which I'm defining as frets one through three, remembering that this top string is the low or heavy string that is closest to the ceiling. I think that's actually the easiest way to visualize it. We mapped out the C fingering position, and then we analyzed it on top of chord constructions in depth. And then we went to the F, which is the four chord. When we're looking at a construction from a C major scale, we skipped the two and the three chords because we wanted to focus on the one, four, five first, those being the major chord constructions, and therefore having similarities between them, more similar than the minors. Then we did a similar process, jumping to the G, which is the five chord. When constructed from the C major scale, we jumped to the five for a similar reason, because it's going to be a major chord. Here's the fingering. We talked about it in detail. We then are going back to the minors. Not that the minors are easier than the majors. This isn't baseball here. We're going to the minor chords as opposed to the majors. Now we're going back to the two chord, and we discussed the two chord in depth in open position here. Now we're going to go to the next minor, which is the three chord, which is an E. Our process will be we'll first construct the worksheet. If you're not big into Excel, you can watch this just for the theory components of it, but we will do a lot more Excel stuff within it. Then we'll use that worksheet to get more into detail about the topic of this chord and the construction of it, and then it being on top of or looking at it in relation to the pentatonic scale of the key of C and the major scale of the key of C and so on. This is what we'll actually build this time constructing it from the OG tab. Let's go to the OG tab and build it out. The OG tab is constructed so that it has our fretboards in just numbers, and then it has the fretboards numbers and letters, and then it has our key construction to the right, and then we constructed it so that underneath we have all of the related modes in the same key that we picked, in this case the key of C. We want to adjust that a little bit because I want to look at the same scale, the key of C, over and over again. We'll do the same kind of thing we did last in the prior tabs. I'm going to hold down control, put my cursor on the OG orange tab, left-click and drag it to the right. Here's our starting point. I'm going to scroll back a little bit. I'm zooming out because I think it's a little bit easier to do this when you can see it a bit better. I'm going to select this whole thing. I'm going to unspecial format this by going to the home tab, style group and conditional formatting. Let's remove all of the colors. Then I want to make sure the key is in the key of C, so it is with that green thing right there is a four, so it's in the key of C. Then I'm going to just look at the first three frets. I'm going to try to move this up here so that it will be... Actually, I want to move it below right there. Then I'm going to hide from one... Actually, let's hide this way first. Let's hide the frets. Let's go from E over to our worksheets on the right-hand side. I'll right-click and hide all that stuff. Don't need all that stuff. Now we've got our fretboard. I'm going to scroll in a bit. Fretboard is right next to our worksheet. I don't want the thing this way because it would be cool if I could see it that way because it's a lot cleaner. It looks like an Ahsoka board. No, that's the Jedi. It's a Sudoku board, but we don't want that. I'm going to remove that because we're not there yet. We'll just hide that. I'm going to hide all that stuff. Now we've got our C-major chord construction up top. Then I'm going to... Actually, before I do that, let's undo that. Hold on a second. Sorry. I'm going to scroll back out a bit. I'm going to copy this whole thing from cell 1 on down to this cell. I'm going to the bottom of this blue to 25. Ctrl-C or right-click and copy. I'm going to paste that on top so that I can repeat just the same C scale worksheet all the way down. I've got to do that first. Must do that first. I've got to get things done in order. Everything falls apart. Your whole life just crumbles before your eyes because you didn't do it in the right order. Now we can hide the Ahsoka table up the Sudoku table. We're going to select 1 to 12, right-click and hide. There we have that. I'm going to scroll in a little bit. I'll do the same thing down here. I'm going to hide this table with the numbers. I'm just going to hide from here down to here. I'm looking at the bottom of this blue. That's why I picked 26. Right-click and hide that. Then I'm going to do the same thing down here. Going from the bottom of this blue, 52. Blue, 52. Blue, 52. Right-click and hide. Then I'll do the same down here. Lo-mismo. The same thing. Again, hiding the number ones. Hide. Right-click. Where did the hide then go? Then this one will hide from here down to there. From here to there. Right-click and hide. Then I think one more time. Uno, vase, mas, por, favo, hide. That wasn't the last time. You were wrong. Sometimes I pretend to be wrong just to make people feel better because I'm not usually ever wrong. But in any case, now we're going to go back up top and we're going to say that this is going to be the three. We'll put this over to here. Now I'm just going to map out. I'll scroll in a little bit so we can see it. We'll map this out on our fretboard in open position. I'm going to select these and I'm going to go home tab, styles, conditional formatting, and make this. This is going to be like my root. I'm going to make that green. This is the same process. This is going to be the one three five. One's green. The three is going to be red and the five yellow. Remembering that this one three five does not represent this scale. It's the one three five as though I'm looking at an E scale. We'll talk more about that later. But that's the similar kind of process we're mapping out. There's the one. And in relation to that one, if we're looking at an E minor, the three is going to be not four, but three. I'll make that yellow just to indicate that it's going to be three notes away. And that's going to be, you're getting into theory stuff. You're just building the worksheet right now. Don't get ahead of yourself. You're out of order. You're out of order. The cart is before the horse. But sometimes the horse likes to push the cart up the hill with its nose. Because it may be its shoulders were getting tired. So it was like, he'd still wanted to work, but he thought it would be better if the horse pushed the cart up with its nose. So any case, then I'm going to put little conditional format this down to here. And there will conditional format this down to here. And to do that, you have to put the cart before the horse. That's what I mean. That's what I'm talking about. Sometimes you might want, sometimes the horse, you might be able to relax the horse's shoulders if you put the cart in front of the horse and let him push it up the hill with his nose. Right? I mean, is that so hard? Is that so hard to believe? Whatever. I'll set my cart up the way I want to set my, don't tell me how to set my cart up. My horse has a strong neck, strong neck muscles. That's why it pushes the cart up with its nose. Anyways, then on the second one down here, I'll say the pentatonic is going to be this, this, this, and then these two. And then home tab font group. And I'll make this green. And so now we'll map out the pentatonic scale. So look, remember, I'm mapping out the pentatonic scale in the key of C, not the key of E minor, but because we're looking at everything in relation to the key of C at this time. So I'm going to say, all right, let's go, and let's make these all green, because that's what our practice has been. So I'm going to make, let's do, let's pick the thing first, C and make that green. Make it green. Make it green, Excel, make it green. Whoa, that was cool. All right, let's make it all, make the whole thing green. Do the next one. Make that one green, Excel. Make it green. Oh, wow. Do it again. Do it again. Make the E. Make it green. Excel, and Excel just does it, whatever you want. Excel's like, whatever you want, make that, not the F. Make the, make the G green, Excel, not the F. Okay, Excel's like, whatever, whatever you want. I'll make the, make the A green. And there's our pentatonic shape that we've seen multiple times. Same pentatonic shape we've been building every time, because we're looking at everything from the key of C, even though we're looking at the chords that are constructed within it. Now remember that these chords that we are constructing have been constructed from all seven notes in the C major scale. And all we did was start at any particular note, like this one being the E, we skipped every other note. So then we skipped to a G and then we skipped to a B. Because we used all seven notes to construct these chords, if we then eliminate two notes to go from a seven note major scale to a five note pentatonic scale, then we might have some notes in the chord constructions that don't fit within the pentatonic scale, but would fit in the major scale. Now if we did create a pentatonic scale related to the E minor, then it would fit within there. But we're looking at this chord as the three chord within the scale of the C major scale, losing two of those notes, the four and the seven, to see it within the pentatonic scale. So that means that this B right here, all of that means that this B right here is going to be outside. And so I'll make that a different color. I'm going to put a yellow thing around it. And then we'll have a B up here. So what I'm going to do now is color this one, these colors now are normal 135 colors. So this is going to be equal to the one is an E. So I'll make that green. I'll make that green. And then the five, I'm going to say that's going to be equal to the G. And I'm going to make that red. And then I'm going to say this is going to be equal to the B and I'll make that yellow. There's our 135. And then so we have that. And so there's the chord within it. Now I'm going to go back up top again and let's just map out the actual shape. So if I was to play an E, the notes that we hold down on the guitar are going to be this one. This is an E minor, by the way, not an E and E minor. And then we hold down this. So it's a very easy thing to play in open position. We want to visualize it as a bar chord as well, even though we're not going to be putting our finger on this. We'll talk more about this later because it's in open position. But when we move it up, this is a classic minor bar chord shape. So we're going to say, OK, let's copy this. What's also ringing out is this open one right there. And we know that this is going to ring out and this is going to ring out and this is going to ring out. Now you don't have to play the entire thing and when you move up the bar chord, we don't have to move the whole thing up. We'll talk more about that later. But there it is. So then I'm going to copy these. Copy these, selecting all of them. Control C, Control V. And let's just scoot this whole shape down on top here so we can see it there. But then these yellow ones need to be on top to show that that's the special note that's outside of the pentatonic. It's breaking the rules. It's outside of the norms of the societal rules of the C scale. It's a rebel. These are the rebels out there. OK, anyways. So then we're going to say that this, let's make this one E and let's make this one red and then we'll make this one orange. All right, so there it is mapped on top of the pentatonic. Now let's do it. Let's map everything on top of the major scale. So we'll map it on top of the major scale. So I'm going to do the same thing. I'm going to make everything blue first just so we can recognize the C major scale. We're not doing an E minor scale. We're doing the same scale that we've seen every time and then building this thing within it seeing that these three notes are constructed from the notes that are in this blob, which is going to be the C major. So we're seeing it in terms of scales right now. So we're going to go up top and say, let's make it all. Everything is going to be blue. Excel, everything. That C, make it blue. Make it blue. And then we're going to go OK. And then we want to do it again. Can't you do it at the same time, Excel? I don't know how to do that. You would think you could. You would think you could, but I haven't figured that out yet if I find that. And I have looked into it because it has annoyed me as I'm sure it annoys you to watch this. You would think I could just select all these cells and be like, do the whole thing with a formula. And I can't really do that that I know with this conditional thing right now. If anybody knows how to do that, I would be very interested to figure it out because I haven't been able to figure it out. And so whatever. But still, you can do it this way. And so that was a G. And then this is going to be an A. And then the last one is going to be Uno Vesmos. Enjoy it. And the last one we get to do this on, the B, boom, is going to be blue. All right, so there's our classic shape that we're building of all the notes. So these are just all the notes. So you could learn this as a scale. We'll talk about it more as scales in future presentations, but basically all the chords that we're playing, now you're starting, hopefully you're starting to see this, the C, the F, the G, the D, the E. If we put them all together and on the one spot on the fretboard here, you basically end up with this blob shape. So we want to see things in terms of the chord constructions first, because that's kind of the funnest thing to do. And then we'll talk about our scale shapes, but then we'll start the scale shapes in the middle of the guitar so that we're learning a different space in the guitar kind of a different way, and then we'll blend everything together and relearn stuff from different angles. It's going to be crazy. But now let's put on top of this just my notes on top of this. So this will fit perfectly into here. So we're just going to, because we built this from the seven notes in the scale, right? So we're just going to say, all right, the 135 of the E minor equals the E. It's going to be the green one. And then this is going to be the G. It's going to be the red one. And then we're going to say this is going to be equal to the B and it'll be the yellow one. And there it is. And now we fit that in there. And I'll just copy the formatting from here. Copy the formatting back to here. This formatting right there. We'll copy it back. And then this formatting, right? Not that one. That one. Copy that over. And then I'm just going to copy my shape up top. Let's copy it from here. This, this, this. This is my fingering. I'm going to copy all that and I'll paste that shape down here and just drag it on top. So hopefully that fits, right? So, so that works, right? So now you can see how it kind of fits within, within this, this scale so that so we can construct it from the scale. So now let's do it again. But this time let's build the whole, the whole, the whole major scale and then put the pentatonic notes on top of it. And then, and then we'll put these notes for the E minor on top of that so we can see how they all kind of are intertwined together. That'll be good. All right, so I'm going to start the same way. I'm just going to, I'm just going to make everything blue first, making the same major scale shape. So I'm going to say, all right, conditional formatting, everything's blue again. You just did this. I know I did. But repetition is helpful. And this is the ground floor basis point. This is like the bot. This is like the bottom with everything's included. Everything's included here. And we have to see that from a layered perspective this time. So we're going to say this is going to be blue and then okay. And then this one's going to be blue. Feeling blue. This one's going to be blue. I had a song developing in my head, but the tune will not manifest itself at the moment. So I'll stop singing it because I don't know how it goes. And then this one is going to be blue as well. So there's our whole blue shape of the major scale. Remember C major scale that we just built here. So boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom. And then we'll put the pentatonic, which we did in the green up top. We'll put it on top of it, which means it's going to fit directly on top because it's just the same thing except we eliminated the four and the seven because they're not cool. Or else they're too cool. I don't know if they're not cool or if they're too cool, but for whatever reason, they're not in the group, man. They're not in the in crowd. So we kicked them out, or they left or whatever. I'm not getting into the backstory, the drama, just it is what it is. So we're going to then say that this is going to be equal to this one and we're going to make it green. We'll make it green. And then we're going to say that this one is this one and we'll make it green. And then we'll say that this one is going to be this one and we'll make it green and then we'll skip the F. F is out. We'll take this one and we'll make it green. Then we'll take the next one and we'll make it green stopping at the A. Stopping at the A. Okay, so there we have it. So now you can see the pentatonic scale in green and then the added note notes the F and the B to get to the major scale. Why is that useful? Because the pentatonic scale sometimes when you're switching from chord to chord and whatnot or playing on top of other stuff is more likely to be a safer thing to do because for some for whatever reason eliminating will maybe we'll talk about that more later but eliminating these notes are the notes that are more likely to clash sometimes when you're going and when you're kind of moving around so pentatonic and then we'll put this on top of it remembering that that this that we're gonna have that B that kind of sticks out here because because this chord we constructed from the C major scale using all seven notes and and and and and the and when I look at it on top of the pentatonic the pentatonic isn't in there because that's one of the seven notes that work in the five note cool group but if I did the pentatonic and major scale in the key of E minor everything would kind of fit together But we're looking at everything in relation to the C major. Okay. All right, so let's do this. Let's map this one out insert or home and Then this is going to be an E and we'll make it green. That's our one Note and then we're gonna say this is going to be equal to this one and make it red And then we'll say this is going to be equal to This one and we'll make it yellow So I had to scratch my nose there for a second. I think it's just a nose hair. There's a nose hair acting Like a booger, but it's like a phantom booger, but then it's Itching it's causing itching it but in the case let's put that let's go home tab format painter and put that here and then this one is going to be format painter and Put that here and then this one's going to be format painted and put that here And then we'll put on top of that this colorful mess. We'll put on top of that If we were to finger The the E minor It would look like that. This is artwork. This is like this needs to be hung on a wall somewhere Right and mine this is like and then I'll put the yellows on top of that To indicate that those are that those bees that are outside the realm of The pentatonic scale those are the rebels that don't conform to the C major pentatonic so if I was to show you this all at one time It's probably too much going on here, but you can see as we built it on top of each other Yeah, you might have got something from that. Hopefully if not it looks cool Either way So there's that we have that going for us Which is nice? so then Let's do this now. We'll say okay Let's we'll we'll talk about later it being movable. So if I'm on like the three here then Then I couldn't move this shape up to the related minors So if I moved it up, I would move it up to the six And I'm gonna make that yellow. We're going rasta colors here by the way not that I'm promoting any kind of Whatever rasta, I'm not don't know much about rasta stuff, but Red yellow green man. I know that's like isn't it? That's like rasta colors. I had some hacky sacks That were that color Okay, so then Then I'm gonna unhide some cells from D to AK right click and unhide and then I'm gonna go from 12 to AJ right click and hide and So now I'm gonna look at the full fretboard from one to eleven at least and look at each of these positions and how and we'll talk About how we can move this when we later So I'm gonna say this is gonna be my red position here That's gonna be our starting one in open position. So this will be the familiar one and so I'll just select this whole thing And we're gonna say format paint the shape and there again Ultra vase. So there's our E. We're gonna make that green and then there's our G and we're gonna make that yellow and then here is our B and we're gonna make that Yellow stop saying. Oh, what kind of presenter are you? You need to work on that? Work on that Okay I'll work on it. I got to stop saying People don't like that man. People don't like that stuff people like anything. I Okay, here we go So then we're gonna say there's that and then and then We can move that up To like the yellow bit here because we're gonna go up from four up and then around the horn back to the two Right, so then if I go up and I'm saying like well There's my root note right there and I'm going up till I find an a on that string So there's the a so I can make this same shape right here, which is a classic bar cord What's a bar cord for bar cord? So here we go on that one and so then let's make this one colored first before you before you move forward This is gonna be the green is E and then the G is gonna be The G let's format paint that as red and then this one is the yellow Okay, and then here I'm gonna make this the same One three five, but now we're looking at the sixth cord, which is an a and we'll map it We'll map it out here. So I'm gonna go conditional formatting boom the a is gonna be green and Then okay, and then we're gonna say that like the C is gonna be red and then We're gonna do like the last one on E and we're gonna make it yellow like that and Then I'll put my shape on top of that so you can say okay if I move this shape up This shape copy and paste it just boom it fits Right there's you see it. I'll make those yellow now man. This is artwork. I I Really think I have some talent something going on here with my Spreadsheets being better than most modern art They can be found these to any case let before I move though. Let's make this Green and then this is gonna be C and then this is gonna be It's not artwork you call that artwork where's the tomato can There should be a tomato can like right in the middle of the screen or something Anyways, we're gonna go from an a and then I'm around the horn to a D So here's gonna be the the D Actually, I need a little bit more room. So I'm gonna unhide some cells From L to AK right-click and unhide and So we're gonna go there's my D and then we start over. This is where it starts over On the 12 I'm gonna make this Rasta green to complete our Rasta color theme Rasta green to complete the Rasta color theme. Oh That's what I'm talking about hide and then I'll make this a little bit smaller Okay, and then so let's do the same thing here. We're gonna say a Format this to be that one and it's gonna be green and Then we're gonna hit the drop-down and format the three cord or the three note of the of the two cord We're gonna make that red and then we're gonna conditional format And we're gonna take the five cord of the five note of the two cord. We're gonna make it yellow like that and then I'm gonna copy my Fingering bar cord E minor bar cord thing that I had over here and Make it on top but then like Make it green to fit my theme color on this side So now we see that movable shape boom now you could also think about this as as Related to The oh wait, I need to make this I need to complete the color in here. This needs to be green and This needs to be Red and this needs to be orange Okay, so now I could think of it like like As though as though I was in the key of E minor So let's do that. We'll compare that in future presentation. So let's just unhide this. I'm gonna unhide these So I can see my key and then I'm gonna unhide these Right-click and unhide so I could see my key now What I what I want to do is look at if I if I'm looking at this minor here the E What I want to what I want to do is look at the related Major to it so that I can so that I can use the same fretboard So remember that I'm always thinking of the minors as a mode. So I'm trying to say well, what is What is the E minor? Related to what's the related major of that minor and and I won't get into that now and too much detail Cuz we're running long, but I'll just tell you that it's gonna be a G which is an 11 so now we have an 11 and if I look at the construction of a G then the six The six of that is our E and the related mode is the minor mode or Aeolian Which is an E minor. Okay, so so we'll talk more about that later. I'm just gonna construct it based on that All right, so then I'm gonna hide from 130 down to 142 right-click and hide and then I'm gonna hide Let's hide. Let's go from 14 again just to make sure we have the room I don't think we need that much space this time, but then I'm gonna hide not to the major here But I'm gonna I'm gonna hide over to the related minors on the right right-click and hide Okay, so now now I'm up here. I've got the E minor. So there's my E minor. So that's the point So I'm gonna scroll in a bit and so I just want to show what would happen if you had if you thought of not looking at the E Related to the C scale, but related to its own scale the minor scale of E minor right and then you can you can start to move up this position and you'll see it similar Okay, so let's say that I'm gonna say now. It's the one chord of its own E minor scale We have the same construction BGB and if I do my same Rasta thing over here. Well, let's make the whole thing blue this time. So I'm gonna map out this whole fretboard In the key of E minor now instead of C major. So let's make all the notes in here blue So I'm gonna say this is gonna be blue and we'll say this one is gonna be blue and then like this one is Gonna be blue as well and then like this one is Gonna be blue too and then like this one is gonna be blue and then that's an a and then The B is gonna be blue Because it likes the sound of the The double B and Then the C is gonna be blue because it saw B being blue and it's like that was cool to be blue So C's gonna be blue and then the D is gonna be blue too So there we have that so now you can see in this. Oh Did I get that the D is the D blue? I think it I think it worked Okay, so then if you can see this open position here You can see That that it's a different we have a bit different shape this shape versus this this shape up top but The the the three note chord will still fit in it right because it'll still fit in there So now we're gonna say insert Boom our chord the one note is gonna be green and Then we're gonna say the three note is gonna be red and then the Five is gonna be yellow Just like your belly. Oh Called you a yellow belt yellow belly. I don't know what that even means That's some kind of of course my belly is yellow. I have it's hairy and I have yellow hair Which causes my my belly to be yellow What are you trying to say? All right Here we go So then let's say this is gonna be oh This is the one This is gonna be the three and The oh hold on a second The five Oh Notice these numbers are wrong here this numbering system is wrong So I'm gonna say this I'm gonna fix this in the master one too. So this is gonna be equal to the miners up top So I'll fix that numbering system Because something was wrong whoever programmed this thing Messed up because they're an idiot, but don't worry. I'll fix it Stupid prior person prior the prior person in charge here was obviously stupid Okay, so now that we have the proper numbering system, you can see that the one four five is all miners Which is which is nice to think about because that's the same pattern as we saw in the major construction Where the one four five was all majors So it's useful to kind of think about just playing with the one four five in the related scale whether it be major or minor So because you'll have similar shapes, right? So this is gonna be the one four five So so we'll put this one. We'll make it green We'll make it green to go with our roster theme and then it's on the a so I'm gonna move There's my e I'm gonna look for the a that's my root note. There's the a a Oh And there it is and so we're gonna say let's make that Green and then I'm gonna select these items and make it our color scheme in here within there starting with this cord So we're gonna say this is gonna be the a is gonna be green and then the C is gonna be the Red it already is red Stop trying to overthink it man. It's already there. Just go with the flow All right, I've had it. I've had enough with going with the flow rhetoric I Make the flow. I'm gonna I Direct the flow of stuff. I'm in charge of the flow of things around here The flow ain't going where it's supposed to I'll tell you what I'm gonna make this green and Then we can go up to the five with our yellow and Oh, let's color code this though. I'm gonna color code this and then this one and then This one. All right one more time and then this is gonna be yellow and Then I'll say copy and then this one is gonna be going up to the B Which is just one step up. So there's from our our root note a to the B now This is overlapping so I won't redo the whole thing. I'll just make this yellow and then I'll put my Shape around it so you could see the shape hopefully and We'll talk more about this later. I know I'm doing this fast, but this is the construction That will will then discuss more in the future So then we can move it up to there and there's the one four five Bar chords if you were playing in the key of E Hopefully I got it right, but I need to make those all yellow and So we'll just make those yellow bracketed Okay, so it looks a little messy, but hopefully we'll talk more about it later It's gonna be great. So now I'm just gonna go back up top I'm gonna I'm gonna unhide from in to be I because because I want to get back to my major scale right click and Unhide and I'm just setting it up for to get us ready for next time. I'm going from E on Over to my major scale construction right click and hide and we have a wonderful worksheet here well constructed even though the last Person whoever worked on it last time totally messed it up But we fixed we fixed it and then so there's that and then I probably fixed it in the og tab over here So our og tab will be fixed Because we had our minor Our minor cord is coming From the wrong spot on one of these Maybe I'll look at that later. I won't get into that now, but I'll go to the back Let's go back to this tab double-click on it. I'm gonna call it the practice II I'll make it a lowercase mi three cord and Then I'm gonna make this a lowercase M Here and then I'm gonna make this one blue because that's the one we're working on if you don't have that blue It's right here if you want to use that blue you don't have to so it looks like that blue when I click off it All right, we're good to go next time. We're good to go