 Guitar and Excel, C major, A minor scale, fret number 7, intervals. Get ready and some coffee, because if we don't get some traction here soon, I'm not going to be able to pay my taxes. And the IRS will throw the book at me. So go ahead, do your worst. Throw the book at me. Which isn't good. You know, being booked to death is worse than being stoned to death? Because, like, books are softer. So it takes days, weeks, even months for those bureaucrats to book you to death. Honestly, you'd think their cruel book-throwing arms would get tired, but no! They take shifts. I deserve punishment. Throw a book at me. At this point, I think the AI has basically taken over the book-throwing job, though. But for some reason, the bureaucrats still get paid. Yeah, it's better to build the books than bludgeon with the books. That's what I always say. But whatever. I try to tell you, man, nobody listens to turtles. 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 did so in prior presentations. So if you want to build this from a blank worksheet, you could begin back there. However, you don't necessarily need access to this workbook. I'm just looking at this from a music theory standpoint, because we'll simply use it as a tool to map out the fretboard, give us the notes, the scale, the chords that we're focused in on. If you do have access to this workbook, though, there's a bunch of tabs on down below, including the OG Orange tab representing the original worksheet we put together in a prior section. It now acting as our starting point, mapping out the fretboard, giving us our entire musical alphabet and letter format, number format, letter and number format, providing an adjustable key that can be changed with the green cell, which will adjust the scales of the worksheets on the right hand side, the worksheets providing us the notes in the scale, the chord constructions of the notes in the scale, and interval information, and more. We've been focusing in on the C major scale and its related modes. We first started by looking at the open position and doing so using the chord constructions. That's going to be the yellow tabs down below. So of course, we started with the one chord, the C chord, mapped it out open position to find as frets one through three. We went to the F, we went to the G, we went to the D minor, we went to the E minor, we went to the A, we went to the A minor that is, and then we went to the B diminished. We then jumped from the open position to the middle of the fretboard, starting in the fret number five, now not learning simply from the chord creation, but rather from a scale standpoint. And then we looked at that position from different angles to see what we might be able to target and how we can tie it in to what we built in the open position. So we then targeted the C chord, the F, the G, the D, the A from that position. And now we're going into what I would call position number two. And we've discussed it a bit in terms of the fingering, first starting with the pentatonic, looking at its relation to the prior position, which I would call position one, or you could call it a G shaped position. Now we're looking at position two, which we could also call an E shaped type position. We looked at the pentatonic and now we added the two other notes to make it the full major scale. And now we want to think about the intervals are related to it. So, let's take a look at this. Now if I was to see the overlap here, you'll recall that last time we were looking at this, which I would call the position one shape, which basically goes into here. So the pentatonic is the green. So these are going to be the pentatonic shape. The string closest to the ceiling, the lowest in base string being the top string here, because I think that's the easiest way to actually visualize this and map it onto the fretboard. And then we have the added blue notes. And now we're looking at this position, which I would call position number two, or E, remembering that there's some substantial overlap between position number one and position number two. Also remembering that we could call it an E position, because it's going to be a C chord if we map out an E type of shape. But here's going to be the E type of shape that's using our caged system. Last time we were on the G shape. Now we're on the E type of shape. And the E major looks like this. So that's going to be our standard bar chord. If we were to visualize there, that would help us to map out possibly what the shape is. But remember that that shape will be unique only to the pentatonic, the five out of the seven shapes. When I add the two other notes, then this shape might fit into multiple different shapes. So you have to keep that in mind if you're using this shape to target where you are on the fretboard. But this would be the fingering in open position. If you fingered that in open position, you would be playing an E chord. So you'd have this here, boom, boom, boom, boom. And then these would be opened down here. You'd be fingering these items. So that's going to be the naming of the shape. We now want to get into the interval. So we talked about just playing through it last time and some techniques we might want to use just to play through the shape. Now we want to think about the intervals more specifically. Now as we do this, I also kind of want, I want to tie this in to the concept of the intervals up top. When we start to name the notes in a chord. So I'm also going to tie that in a little bit more possibly than we have done in prior presentations when we focused on the intervals. As we do this, this is what I would recommend doing like in the morning when your brain is still working. And then it'll kind of set the seeds hopefully for it to solidify when you're noodling around possibly in the evenings, for example. That's how I would generally think of it. And it's designed to try to get these different things that we're trying to memorize straight in our mind. So we're not confusing everything together. So when I start to say shapes or we have all these different numbering systems, we often mush them together in our mind. They're hard to keep separate because we're using different numbering system for relative positions, which are confusing. So we have to keep those straight in our mind. And then we're going to use numbering systems that we need to be working on. Well, we have to number the notes in the musical alphabet, which we could use letters for. We can also use numbers for. And then we're going to be numbering the notes that are in the scale so that we know the relative position in the scale. We can also use Roman numeral numbering, which adds another layer of visualization, because with the ability to have something that's going to tell us if it's going to be a chord that's going to be a major or minor chord. And then we could have numbering systems for the intervals. And then we could have another numbering system that could give us the absolute interval or distance from every note compared to its first note in the chord, for example. So let's first start and recap this to get an idea of what we're doing. So I'm going to go back to the OG tab here, and I'm going to start by just looking at the musical alphabet. And remember, if we just go through the musical alphabet, we've got A, A sharp, B, C, C sharp, D, D sharp, E, F, F sharp, G, G sharp. And then we go back to A. When we go back the other way, that's usually when we're going to go on the on the flats side of things. So now you've got the A flat, G, G flat, F, E, E flat, D, D flat, C, B, B flat, A. Now those sharps and flats can make it difficult to just say the musical alphabet up and back. They do have their uses, however, of course, because I think the rationale of this would be in part that when we list out the scales, we can list out the scales with every number in every letter in the musical alphabet. A, B, C, D, E, F, G, which makes it a little bit easier for us to count up and back. But then we have to change that and alter it a little bit by adding those sharps and flats. And so we have to remember where the sharps and flats are. I'm proposing having a numbering system as well, which I think if you're going to memorize all this other stuff, it's quite useful to have a numbering system because then we can do the intervals more easily. Now if you don't want to do the numbering system, that's fine. This will still make sense. But you'll see that I'm going to count up with the numbers and that makes the interval idea a lot easier to do. So you'll be able to visualize what's going on from a bigger picture standpoint. And let me all explain that more as we go. But here's the numbering system. So an A is a 1, A sharp or B flat is going to be a 2. Remember that sharps and the flats are the same in tone. So I'm just going to name it with one number from our simplified numbering system. A 3 is a B. A 4 is a C. A 5 is a C sharp or D. I mean a C sharp or D flat. A 6 is a D. A 7 is a D sharp or E flat. An 8 is an E. A 9 is an F. A 10 is an F sharp or G flat. An 11 is a G. And a 12 is a G sharp or the A flat. Once we have that, then we can think about our major chord constructions that was used to create our worksheet over here. Using the formula of whole step, whole step, half step, whole step, whole step, whole step, half step. Or you could think of it as 2 notes up, 2 notes up, 1 note 2, 2, 2, 1. However you want to think of it. But when we're thinking about absolute distances, I want to think of it as standardized units of 2 notes up. Everything is 1 note up. So if I start on a 4 which is a C plus 2, we get to the 6. Which is a D. If I go from a 6 plus 2, 2, this gets us to an 8. An 8 is an E. If I go from an 8 to a 9, we get to 8 plus 1 is 9. That's an F. 9 plus 2 is 11. 11 is a G. 11 plus 2 is 1. Or 11 plus 2 is 13. There's only 12 notes in the musical alphabet. 13 minus 12 is 1. It takes us around the horn back to 1, which is an A. 1 plus 2 is 3. 3 is a B. And 3 plus 1 is 4. That brings us back to a C. Now this formula, you might ask, well, why did they come up with this formula? That's beyond the scope here. We're not going to get into that. You just have to memorize the formula for our purposes. We're going to accept it for what it is. And you can see if I apply that to a numbering system, it's a lot easier for me to map out the number and then associate it with the letter in some times. So it might make it easier for you to see what's happening with this system because if you look at the musical alphabet without that, you have to remember where the sharps and flats are in order to make sense that the formula is whole, whole, half, whole, whole, half. Because otherwise you're just going to remember it's A, B, C, D, E, F, G without the sharps and flats. And if you don't know where the sharps and flats are, then you're not going to see the formula as easily. So then we have that over here. That makes our worksheet. So we have our worksheet and now we have our relative numbers. These are the relative numbers, 7 notes out of the 12 notes, 7 notes that make up our scale of C. So I'm going to unhide some cells up here from K to AK, right click and unhide. And so then I'm going to hide, let's go from out to like 13. I'll hide from here and then I'm going to hide to here so I can see this bit on the right, right click and hide that. And so then I'm going to make this a little bit smaller and I'm actually going to put the numbers here. This is 1, 2, 3, 4, 5, 6, 7 right here as well. 1, 2, 3, 4, 5, 6, 7. Oh, what did I do? I don't know. 7 and I'll actually put an 8 down here too. I'll make this a little bit larger. So now we can see this worksheet on the right. So this is going to be our construction of the C plus 2. Let's highlight this as well. And then I'm going to say this is going to be green too. And then I'll hide this. So now we can see these side by side. This actually I'll make this one still blue. So now we can kind of see this side by side as we move up. And we can see the actual number of the notes that are tied out over here because there's a little bit of a shift or a disconnect between our worksheets right there. Okay, then I want to take a quick reminder of how we came up with these chords. I'm going to unhide some cells over here, unhide so I can look at my circle. So here's just our notes in a circle format C D E F G A B C D E E F G A B. And then how we made our chords is we take every other note. So C to an E to a G. That's how we made the C chord here. So we took every other note in the circle. And once we do that, we can also start to label our intervals, which we did up top and when we talked about chords, we started to think about labeling the interval. So we call this the one, the three, the five. So when we look at these numbers, we're looking at them in relation to the first note of the chord. In this case also the first note of the scale. But if I was looking at this one, again, I would be labeling this 135 in relation to the first note of the chord that we're looking at. Now, when we did that, I also discussed the total distances when we look at this third. That third actually means if it's a major, it's four notes away from the C. You can't see that absolute distance because of this formula. We only have seven out of the twelve notes. And this five, the fifth actually here, as you can see, eleven minus four, is actually seven notes away from an absolute distance. So the thing is we start using these terms, the one, three, five, the seven, the nine, the eleven, and the thirteen, for example, as distances. And people kind of understand that abstractly and you can look at the relative distances, but people often don't know what the absolute distances are because you can't really count it as easily when you just use the letters and you're basically looking at it in relation to other distances. So you're kind of looking at the relationship on the guitar, which is great, but it might be useful then I'm going to try to tie in the absolute distances as we do that as well. So that's another kind of thing I just want to map out as we're thinking through this. So let's go up to here. So then we might just want to go through the shape and just go from it from top to bottom and then think about these distances. And this will help us to basically map out the scale for our fingering on the scale. And as we map it out, we'll also be thinking about the chord. We'll start to think about the relative positions and we'll start to think about like these distances, what these intervals mean as we go through it. Okay, so let's actually do it. So I'm going to pull out the guitar. Here's the position one we looked at in the prior section and then position two has that substantial overlap. So I'm moving the pointer up to here, position two, position two starting on the B. However, if we're playing it alone, we probably want to start with this C here because we're thinking of ourselves in the key of C. And I could do that by shifting my fingers up top, but it would probably be better to play it with this finger. So I have one finger per fret. So I'm going to start on that C here. And I would say this out loud if you have the capacity to do so with the help and use of the worksheet. And then when you get good at it, you could basically go through this or at least parts of it without the support basically of the worksheet, right? And just kind of say this mentally in your mind. So I'd say this is going to be relative position one. I'm saying it's a relative position because it's relative to the scale that we're in. So I'm looking at this number relative position one of the C major scale, which is note number four, which is a C. And then we're going to go from relative position one to relative position two. So I would say here's my one, which is equivalent to that one, to relative position number two, which is equivalent to that two, which is going to be, which is going to be a whole step, which is what this number two two notes up is going from note number four, which is a C up two notes to note number six and note number six is a D. So there's our D. And then I can think about the absolute positions from this position to the root, right? That's what these intervals are basically doing. Now notice up here when we build these, we only, we take every other note. So I went from, you know, we're looking at these intervals of every other note from a C to an E, right? We're taking every other one so we don't see the second, right? But you might hear people using that term because we've basically labeled every interval. So in other words, if I go back to this OG tab and I was trying to think of all the intervals that I can have related to this C, how many could there be? Well, there's 12 notes in the musical alphabet, so we could label 11 intervals, right? I could say there's, there's 11 different distances from that one point relative to that C. And that's basically what we're doing when we do these, right? We're labeling, we're labeling these intervals, the one, the three, the five, the seven and so on. But we're usually only using the ones that are every other note. You could use, you know, the second here and the second would traditionally be if it's a major second, right? So that's what I'm going to try to add in our discussion here. And then I'm going to take all of this and pull it down, which is, which is not good, because I have to take my fingers off of the board to do that. So let me see if I can get back here. So now we're on D and we're going to be going up then. Let's use a, let's, let's use this color to an E. Now remember we could go up to the E out here, but that's going to be outside of our position. It'll be more than three notes on a string and also recall the difference between these two strings. It's five notes difference. So if you hear someone say that it's a major fourth difference, what does a major fourth mean? We're going to start to define that more so we can use that terminology better, right? So now we have the one, the three, the five. There is no four here when we construct our chords. The four is in the middle here. The four, like these constructions, doesn't mean four notes away. It actually means five notes away. And so you have to keep that in mind. And that's useful to keep in mind because that tells you the, you know, how far you have to go out on one string to get to the other. So in other words, if I'm on this E, I've got to go out one, two, three, four, five steps away to get to an A, which matches this A. If I'm on that A, one, two, three, four, five steps away to get to the D, which matches this D, this D, one, two, three, four, five steps away to get to this G. From this G, it's only one, two, three, four steps away because of the kink and the tuning between these two. This one, one, two, three, four, five to get to the E. So that, why is that useful? Because if I go one, two, three, four or three steps away and I think about that as my fingering one finger on each string, then to get to the next whole step, it goes from pinky to pointer. So it's a whole step away from pinky to pointer. So you can see that here. We've got the pinky four, it's one, two, three, four, five steps away to get back to the pointer down here. So that's a whole step. In other words, right? You're thinking of this distance from here to here pinky to pointer is a whole step. And that's useful to know when you're trying to figure something out, right? So now we're on the E. So let's move this whole thing down again. And then if I look at the absolute distance here to this E, I think I went on an extreme tangent there. It's going to be the two plus the two, which is four. So the distance away here is going to be four. And so that's going to be, so this E is going to be the third, right? So the third here, the total distance for the major third is four. And that's one of the major intervals we have to keep in mind when we're constructing, you know, our chords, right? So when I say it's a major third, what that means in total intervals is it's four absolute notes away, right? If it's a minor third, it's going to be the three notes away. Okay. So now we're going from here. Let's pull this whole thing down again. So I'm going to just pull this to here. Let's see if I can do this with one hand. So I can keep my hand on the guitar. And then this is going to extend down to here. And I was on, we did, we did, and we're here. So now I'm on this one. And this is going to go from an E to an F this way, which I'm not sure I have to do that. And then we're going from an E to an F here. Whew. Okay. So now we're going from relative position three, which is the same three here to relative position four, which is going to be a half step. We can see with this, that's what this number represents. A half step going from note number eight, which is an E up by one, because that's what a half step is, to note number nine, and note number nine is an F. Now, if I look at the total distance of this, which is the fourth here, now we're on the fourth. And remember, the fourth is the distance of this, most of the strings, except of these two strings. What does the fourth mean? I don't see a fourth up top here, right? Why don't I have a fourth up top? Because we skip every other note. But if we had the fourth, and you can also say, well, what is it equivalent to, right? This two that we skipped, notice there's only seven notes. So how can we have a nine? Well, it's because we don't want to keep skipping every other note and then go to the two up here. The nine is equivalent to the two, and the 11 is equivalent to the four. So when someone says it's a perfect fourth, you can also say it's an 11th, right? When you're using basically, you know, this kind of interval system, which is another thing that kind of confuses it. But what does that mean in terms of total distance? That means it's two plus two plus one, which is five. That's what this five is. It's just counting up this total distance over here. So the total distance from the root is five. The distance from the last note that we went to is the half step, is one, right? So the total distance from C is five, and the distance from the last note we were on is one, okay? So now we're going to go from here to here. Let's go from here to here. Let's see if I can pull this down like this and this, and then we're going to go from here to here and from here to here. So now we're going from here to here. So we were on relative position four, which is same as that for going up to relative position five. To do that, that's going to be a whole step. So we're going to take a whole step from note nine, which is an F, plus two, because that's what a whole step is, nine, ten, eleven, and note number eleven is a G. So now we're on note number eleven is a G, and the G is the fifth. So now the question, here's the fifth right here. That's what that fifth, that's how we got to that fifth. That's the fifth note of this scale, because we're looking at this first, the first one here, the C, the major. So what does it mean to be a fifth? It means on our worksheet seven notes away, where you can see eleven minus four is seven. Or if you look at all the intervals that we have thought this far, two plus two is four, plus one is five, plus two is seven. That's what this seven is saying over here. So you notice we're just naming all the intervals with these naming conventions. These naming conventions are also confusing, because we skipped the two, we skipped the four, but then we actually add them back in with the nine and the eleven, which you can think of as equivalent to the two and the four, and these numbers don't represent absolute intervals, but rather relative intervals, the absolute intervals, you can count, right? You can count because there's only seven out of the twelve notes. So if you have the numbers, then you can count those absolute intervals, which is what I'm trying to put up top, and those absolute intervals are really the thing that is distinguishing what is going on here. Those are the ratios of what's happening that you really would actually be useful to see. So then we're going to, in my opinion, maybe I'm just a weird accountant, but I don't know. Apparently you could do quite well without that, but I still feel like, anyways, so then we're going to go down from here to here, and from here to here, and then from here to here. So now we're going from relative position five to relative position six. So from five to six, and that's going to be a whole step, and so we could end up outside on this A out here, but no, it's going to go from pinky to pointer. Pinky to pointer is going to be bringing us to this A down here because that's the five, the distance between the strings. So pinky to pointer, and so there we have it on this A, so we went from a G up by two, bringing us to twelve, and then around the horn back to one, or eleven plus two is thirteen. There's only twelve notes in the musical alphabet, so thirteen minus two, I mean, twelve is one. So then I could say, okay, that one, if I look at that, that's going to be around the six. There is no six up top, but the six is basically equivalent to the thirteen, because we skip every other one, and then we keep on going after the seven. So the nine's equivalent to the two, the eleven to the four, the thirteen to the six. How far away is it from the one? It's nine absolute notes, right? Why? Because our intervals say we went two, whole step, whole step, two, two, one, two, two, and that adds up to nine, right? How come I don't have my little thing down here that's showing me? But in any case, two, four, five, six, seven, eight, nine, right, adds up to nine. Okay, so then we're going to go from here to here, and then here to here, and then here to here, and then here to here. So now we're going, and then from here to here. So now we're going from relative position six to relative position seven, which is going to be a whole step, going from note number one, which is an A up to notes, because that's what a whole step is, from one to three, note number three is a B. So now we're looking at seven. The seven position, which is actually 11, it's going to be 11 notes away, right, two plus two plus one plus two plus two plus two, two, four, five, six, seven, eight, nine, 10, 11 notes away from the four. That's as far as you can get, that's as many notes away as you can get, right, because if you start on the one, and there's only 12 steps you can take to get to the end of the musical alphabet, that's as far as you can go. Now this one down here, it's messed up because I have a 12, but that's actually around the horn going back to the one. That's an octave up. So now we've gone a whole octave up. If I go to this one, you can label that as the eight, right, or one, eight is equivalent to one. So sometimes it's easier to say eight because you're still kind of counting up to finish it off, which would be an octave higher, but from a circular perspective, you're getting back to the original, which is going to be the C. So now I'm going from relative position seven to relative position eight or one, which is going to be a half step, going from note number three, which is a B, up one, to note number four, which is a C. So there we have that. Now we're starting back over again. So I'm going to move this back up to the top and we do the same thing on the higher registers. So now we're on the higher register and we'll do the same thing. We're just going to go, okay, I'm going from that C and then I'm going a whole step, not out here, but I'm going to bring it from pinky to pointer on back. So we're going from relative position one to relative position two, which is going to be a whole step, going from note number four, which is a C, up a whole step. And that's what this distance is pinky to pointer on every string except these two is a whole step. It's a whole step up because of the interval distance of the five distance between the strings. So now I'm going a whole step up from four plus two is six, which is a D. And so now we're on this one. So now we're on the two. There is no two up top because we skip the two when we construct chords generally, but then we go around the horn and we pick it up when we get past the seven. So it's equivalent to the nine. So the nine and the two. If someone says it's a nine distance away or a two distance away, what that means is the interval in absolute terms that is two, right? It's a two. It's two notes. It's a whole step, right? Okay. And so then if I go down here and then we're going to bring this down here and do this. Now we're going from relative position two to relative position three, and that's going to be a whole step away from note number six, which is a D plus two, because that's what a whole step is, six, seven, eight, and note number eight is an E. And now we're on the third, or the third note in the scale, which is the third when you construct the chords, and the third, if it's a major third, we know it's not three notes away, but four notes away. How is it four notes away? Well, you can see it here, because if you number the notes, it's eight minus four. But you can also see it by the intervals, right? Even if you don't number the notes, you can say, well, it's two plus two, because the formula was a whole step and a whole step. Now, again, it's a lot harder to do this, to add up, well, how far away is it? Well, it was a whole step, whole step, half step, whole step, and you're going to count those in your mind and not even think about the whole steps and half steps as numbers, but rather distances of whole and half. So that becomes difficult. See how that becomes difficult to visualize, right? I mean, it'd be a lot easier if you think of it as a distance of two, two, one, so you can count, right? So that's going to be five, or if you use the notes over here and you can associate them with a number, you can use simple subtraction, and you can get to these answers, you know, a lot faster. So I, again, I'm thinking that's helpful. I don't know. You can do, I'm not a, I'm an accountant, but I still, I feel that there's usefulness to that. So I will continue to, until I'm convinced otherwise. Okay, so now we're going to go from, from the E, so relative position three to relative position four, and that's going to be a half step. And so we're going to go from note number eight, which is an E plus one, because that's what a half step is, to note number nine, note number nine is an F. So now we're on note number, we're on the four, and the four, again, isn't up top because we skip every other note. We usually think of these distances as the one, three, five, seven, right? Nine, eleven, thirteen. But then when we go around the horn again, we pick up the eleven, the eleven is equivalent to the four, and the eleven, how far away is the eleven? It's five notes away, which we can see by nine minus four is five, or we can see it as the distance we have so far, two plus two plus one is five. That's the distance between all the strings. It's that perfect fourth that you'll always hear. That's the distance between the strings, which will drive you crazy if you don't know what they're talking about, because it's really five notes between the strings. That's what I want to know, what I'm talking about, but anyways, so don't let it get you frustrated. Okay, so we're going to go from here to here. So now we're going to say, we're going from relative position number four to relative position number five, which is a whole step, going from note number nine plus two, which would bring you out here to the G out here. However, but we're not going out there, we're going back here, so you would think it would go from pinky to pointer, but it's not going from pinky to pointer. Why? Because the distance between these two strings is one note distance, and therefore to go back, I have to shift that up. It would go out here, but now I'm compensating for the kink. Compensate for the kink. I'm shifting it up one, and I'm picking up that G right there. And so you can see, if I go one, two, three, four notes out and up one, that's when you get to the next G. This G is the fifth, so the fifth is an interval up top, and how many notes away is the fifth? Four, which is seven, or it's two plus two plus one plus two, two, four, five, six, seven. That's what this seven is over here. Okay, go faster, because you're taking too long. We're going to go from here to here, and here to here. So now we're going to go from relative position four or five to relative position six, which is going to be a whole step, going from note number 11, which is a G plus two, which would bring us to 13, but we're going to go around the horn 13 minus 12, because there's 12 notes in the musical alphabet, is 11, or 11 to 12, and then around the horn to one, one is an A. So now we're back to the A here, that's the sixth. There is no sixth up top usually, because we skip every other note, so we get the odd numbers, right? But the sixth is going to be equivalent to the 13. So the six and the 13 are equivalent, and how far away is the 13? Well, you can do the math here, although it's a little bit difficult, because you have to go around the horn, and you would get to the nine, two, four, five, six, seven, eight, nine. It's nine steps away from the root note, and it's two steps away from the prior note, going from the fifth to the sixth. Okay, so now let's go to the next one. We're going to go from here to here. We're going to say, okay, we're going from relative position six to seven, right? Is that what I'm on? Yeah, relative position six to seven, and that's going to be a whole step, and so we're going to go from note number one, which is an A, and we could go out here to that B, but no, we're going to bring it back pinky to pointer. Pinky to pointer is a whole step, usually. Pinky to pointer is a whole step to that B, and that's up by two. One, two, three, three is a B, and then now we're on the seven. How far away is the seven? Well, it's two plus two, plus one, plus two, plus two, plus two, which is 11. That's as far away as you can get. Remember, all the intervals, you can call them all the crazy names you want, right? But what seems to me is important to me to kind of get down is, I'm just looking at the distance between the first note I'm starting at, which in this case is the C, and any other interval. There's only 12 notes, so again, there can only be 11 intervals if you're starting on the first note. How far away is any other interval? There's only 12 of them. Call it whatever you want, but that's, you know, so if you keep that in your mind, I think it'll be maybe easier to deal with all the crazy names of the intervals, because it seems like there's uses to the crazy names. There's a method to the madness, but there's a lot of madness, okay? That's how I feel about it, at least. So then we're going to go from there to there. So now we're going from the seven to the eight, or back to the one again. And so that's going to be a half-step. So that's going to be a half-step. So we're going from note number three, which is a B, to up by one, three to four, note number four is the C, which you can call note number eight, which would be an octave up, or 12. I'm saying it's 12, a distance of 12, but it's not really unless you count the octave, right? Because now it's going back around the circle, back to the one. You're basically going back to the one, which means the interval would be zero. There wouldn't be an interval, because it's at zero. You're at the starting point. You haven't taken a step anywhere yet, in terms of distance terms, okay? So now you could go up to the D again, and then you could go backwards. So let's just go backwards on a couple of these, because we're taking a lot of time, but you could think of the same thing going backwards, which of course would be a good routine to do. So now we're going to say, now we're on the C, and if you're going backwards, again, you probably don't want to start on the D. You might want to go up to the D and then back, but if I'm thinking of myself as in the key of C, I'm going to start my routine on the key of C, so I start to see my lines starting and stopping, looking at those. I've heard someone call them bookends, or they're kind of like that. These are the bookends, right, of the scale. It's not like where I start the scale is the bookend. The bookend is where, when I'm talking, is the start and the end of the scale that I'm working on. It doesn't mean you can't go past that, but then you're going to the bookend on the other side, right? So you want to start and end on that bookend. So now we're going to say that it's a C, and that's going to be the 1 or the 8. Sometimes when I go backwards, it's useful to me to call it an 8, especially when I'm going backwards, because then I'm going to go from the 8 back down to the 7, or the 1 to the 7, if you think about it, going around the horn. So that's going to be a half step. Notice when I'm going back up, this interval is this side. It's not the 2, it's the 1. So it's going to be that half step going from note number 4, which is a C down by 1. 4 minus 1 is 3. Note number 3 is a B. And again, if I go to that 7, I can see from the total distance here, that's the 11. If I go down to the 7, that's going to be then 11. Notes out. Okay, and then let's move it up. I'm going to go, okay, then here, here it will just do a couple of these. We're going to go from the B back down to the A. So this is going from relative position 7 down to relative position 6, which is going to be a whole step driven by this 2, not this 2, because we're just undoing what we did before. And so we're going to say it's this 2. And then we're going to say that it was a 3 minus 2 is going to get us to a 1. There's a 1 back here. But again, I'm not going back there. I'm going the pinky to the pointer. So pinky to pointer, when I'm going up the fretboard, is once again the whole step, right? It's a whole step going in pitch down, right? So now we're going down. So from 3 down a whole step, we're going back to that A, but I'm not going to go to that A instead. I'm going to take my whole step back by going this time, not pinky to pointer, but pointer to pinky, right? Pointer to pinky is the whole step. And so we're going to say a pointer or pinky. And then we're going to go from here to here. That's going to be from here to here. So that's going to be from here to here. So now we're going from relative position 6 to 5, which is going to be a whole step, going from note number 1, which is an A down by 2, which would take you down to 12, because we're going around the horn, to 12 and then 11. Or if you subtract 2, you get to a negative number, right? And you can add 12 to it, and that's going to get you to the 11. That's going to go around the horn to get you to the 11. And 11 is a G. And let's do one more so we can see that kink in the tuning. So if I go up again, we're going to say we're going from here to here to here. And then this will bring me up here. So relative position 5 to relative position number 4. And that's going to be a whole step. So we're going a whole step, which is going to take us from a G down by 2 notes. So 11 minus 2 would be a 9 or an F, which would be out here. But that's outside my position. And I can't play that. It looks like you might say, why can't I pick that up? It's only 3 notes on the string. But notice it's 1, 2, 3, 4, 5 frets across. And that's another kind of rule with these formats. We're trying to keep it within 4 frets basically across. And that's another reason why we don't pick that one up. And then so we're going to be picking up the one up here. Now again, usually it's pointer to pinky. That would be the whole step. That's the whole step pointer. But because there's a distance, there's a change between these two strings. We have to accommodate for the kink and the tuning. And so we're going to be picking up this distance, which will get us to a whole step up here to the note number 9, which is an F. OK, so I'll stop it here. So I know that was quite tedious. But like I say, if you were to do that a little bit, like half of a scale in the mornings or whatnot, then I think you'll really start to get the numbers down here. And you'll start to see what these intervals mean. And when you start listening to people on the U, I love the fact that there's so much stuff on social media. People are just giving information away. It's just amazing. However, you're going to have to learn the terminology to do that. And a lot of people, it seems to me, when they've learned music for so long, they so know the terminology that it just comes natural to them. When if you come to this later, you're probably going to be looking at these intervals and just being like, why? I mean, that doesn't seem like the easiest way to think about the intervals. It seems like we're making up a lot of things that are different ways of saying the same thing. So in order to really take in all the resources that are out there, which there are many and just really great people putting stuff out there, then learning these intervals, I think, will help a lot to try to understand the different angles that people seem to approach the music from. And so later we'll do a similar thing possibly with the minors here, and then we'll kind of list it out on the minors. You could do the same thing with all of the other modes, but I'm not going to get into the modes. This time we might just take a look at the minors.