 Guitar and Excel spreadsheet creation mapping the path to fretboard enlightenment part number 11 Get ready and don't fret. Remember the board's fretted. So you don't have to be Here we are in Excel if you don't have access to this workbook That's okay because we basically built this from a blank worksheet But we started in a prior presentation. So if using a blank worksheet, you may want to begin back there However, if you do have access to this workbook, we got a bunch of tabs down below including the example tab Which is the end result the final product in essence answer key the starting points Corresponding to the video presentations as we work through the long practice problem the blank tab Representing the blank worksheet. We started on and are continuing with at this time Quick recap of what we have done thus far. We started out listing the musical alphabet in a column format a and then the sharps and flats being lowercase a b and then b c C sharp or d flat d D sharp or e flat e f F sharp or g flat g and then g sharp or a flat then it starts over again We then gave the numbers related to it Which I think are both useful for a memorization technique as well as for our excel. We combined them together We created the fretboard both in terms of just numbers Which is easier and cleaner to look at if we can see the notes in terms of numbers and with the numbers and the letters Which is primarily what we will be working with when we start to use our worksheet. We then created the relative Scales picking the notes from the musical alphabet starting with the C or for note The four note is a C Scale and using our formula of whole whole half whole whole half to then construct the notes That will be in place we we constructed it and repeated the pattern multiple times You can imagine it going out into infinity to help us build our worksheet Which now is related to the C major it will give us the notes So relative positions in the scale one two three four five six seven the notes in the scale four five And you could see it down here. It might be easier for C six D eight e and so on so C D e f g a B and then we have also the Roman numerals Which will tell us if we're constructing a major or minor scale pretty quickly We've got our circle here Which gives us this information in a never-ending circle, which is easier to see oftentimes than to imagine say like a piano Going on forever or this column in a linear fashion Looking at it in a circle as useful Then we use that to create the relative minor which we can call the Aeolian. We then thought about the The Dorian and now we're just going to continue on with the mode So we're just want to add the rest of the modes now that we have this in place So if I go back to the major over here note that when we're thinking about the modes The minor is just a mode right? It's an Aeolian mode It's taking the six and and making the minor from it Let's go down here to see it so if I'm in C or took the six we made the minor then we did the same with the D and That's a Dorian. So now I'm going to create the the related Phrygian, which means I'm just going to take this Three note and use it as the one note and do the same thing we did with the Dorian and with the minor So to do that we should be able to just copy the Dorian Hopefully now so I'm going to put my cursor in the skinny over here and just Go on over to the CW Control C and then I'm going to paste that in CX right-click and paste and then hopefully all we need to change is this starting note I'm going to say it's going to be relative I'm going to go all the way back to the major and I'm going back to the major and say now we're starting on the the Note of it's going to be the eight the three note We're starting on the three note because we're looking at Phrygian So I'm going to say there's the eight pulling that in and so there we have it and so this is That looks Unusual because I have to delete everything below this and then I'm just going to copy it down So I'm going to copy this down until it repeats Copying it down till it repeats six seven eight And or six eight and then I'm going to say then this one is going to equal or let's do it up here This eight is going to equal This pattern and the pattern just repeats from there So I should be able to copy this all the way down and the pattern will just repeat and That looks good. Now these distances should populate properly automatically Remember, this is relative to the C major. This is the Phrygian relative to C major So the C major is here if I started there I get my familiar pattern of whole whole half whole whole half But now I'm just starting on this note So now I've get the the half whole whole whole half whole whole and that's going to be my pattern For the Phrygian. So then I'm going to type in up top. I'm just going to change the name I'm going to say this is going to be the Phrygian Phrygian and obviously part of the music theory that is Difficult is just remembering these Greek names which aren't don't exactly roll off the tongue For at least English speakers, you know, but that's part of the you know You sound fancy when you do say Phrygian and so that's quite impressive, which is you know, that's useful I guess and and so there we have that. So now we're starting. I think everything else is populating Properly so these are pulling over properly now just like we saw last time and down here I think everything is pulling over that the lookups are pulling over Properly and then if I look at At the major notes over here if I go up back to eight to major then the one four five in the major is that C F and G which should have capital letters. So let's see if that's the case over here. So we had the C So hold on a second something isn't quite right with that. Oh, no, the C is over here. There's this capital F And then G so that looks like it everything looks like it's pulling over properly and now we're just starting with an E being the one With with a lower case. So we would be building a minor Chord around it and so on and so forth. So same concept. Let's just do the same concept now to the Lydian So this looks like it's we have everything working like it should so I'm going to copy this skinny Go on over to the end here and control C and let's do the same thing and just paste it in DV control V and so now we're doing the same thing here But now we want to start on my starting note. So I'm going to just delete this whole column this time I'll just delete this. I'm going to re-implement this column. This is going to be equal to I'm going all the way back to the major I'm going to go back to the major way over here and We're now on we want this to be the nine. So now we're going to do the same thing But we're starting with this note. Maybe I should do it from Where I where I was doing it before to be consistent So we're over here and now we're doing it from the nine, which is the four note over here I think it's actually easier to see in the circle But so I don't think it would matter if I took either one, but here it is We'll take the nine boom actually it would matter because I have to copy it down and then I'm going to copy this down Boom, I see where it repeats right there and I'm just going to say this equals the one above it So then I can then copy that pattern down and all the relative cells Will move down nicely same pattern we have seen in the past So that looks good and then again if I look at the relative pattern to the C There's my whole whole half whole whole half But now the pattern if I start on the F is half is whole whole whole half whole Half and then this looks like it's populating. So I've got the name. So this is the nine or F for the Phrygian and The Roman numerals. I'm going to assume or populating properly. I know there's the C There's the G. There's the F are Capitalized and the B was the diminished. So that looks like it's doing what we want. So let's do it for the next one Actually, I need to change the name. This isn't Phrygian. This is this is Lydian Lydian and this is the four note note From the relative major. So it's the four note from The relative major scale So someone says they're playing in Lydian Then it's useful to be able to think about if you can envision your your circle of fists over here and so on It's an I'm an F Lydian That's my one if I was to think of it in terms of Lydian then where's the C in relation to it? It's the five right so he'd have to say okay That's relative to my C and if you can do that then that's useful because oftentimes You're able to basically populate the chords if you're thinking about the relative major as opposed to the Lydian which is basically just ordering it so it's useful to do that Especially in the start when you're trying to mess around with these modes. So let's do the next one now So the next one is going to be mix a Lydian So we'll do the mix a Lydian same way Mix a lid we'll take the skinny all the way out to here and I'm going to copy that and paste that in ET ET phoning at home at this point because it's so easy. We've got the pattern down We're going to call this mix a Lydian mix a Lydian and I'm going to say this is the fifth note of the relative major that's and then We're going to change these notes then so I'm going to say this is going to be delete this stuff And all I have to do is change that first note equals back to the major Going all the way to the left To the majors back to the majors back to the majors we were in the minors for a while But then we were pulled back up to the majors now if I was to look at it this way We would be looking at this note right if we look at it in terms of the circle Relative to the major where you can think about it this way would be the G relative to the C So but I want to pull it up in the table so that I can copy everything down So we're looking at that 11. There's the four to the 11. So I'm going to say enter which is There I'm going to copy it down till it repeats until it repeats and Not quite yet. So there it is and then I'm going to say this equals the same pattern So I could just repeat that pattern on down the line on down the line All right, and then this is going to be the mix-a-lady in so it's the it's the mix-a-lady in fifth note of The our major it looks like everything is populating Properly, I hope here. So we we still have the Roman numerals on the C All right, I think everything is good and then we have our circle starting at the G the relative The relative major then is the C over here. Okay. All right now. Let's do it again Let's do it again. Hopefully the pattern is working here and we can just do it again. We're going to Loki in this time which always reminds me of like the Loki character I don't think it's spelled because there's an R and look look create. I don't know, but I'm going to copy this and This is the low key in one and we'll paste it here and so let's just change the name first This is going to be low key in and this is going to be the seventh note from our Major now this is the weird one so you probably probably not going to play like a whole song and and Loki in but but So so it's probably not the most useful to actually use it to be constructing a song in but it's useful to understand it Conceptually here. So in any case, we're going to say then I'll delete all the notes on this side and Say alright now. I'm going to say this is going to be equal to going to the left all the way back to the majors and So there's Dorian. There's the minor. Here's the majors. So notice. We already did the minor here That's why we're not doing this minor. It was the Aeolian or minor So now we're going to this one which is the three or a B, right? But let's do it in our table. So we're going in our table and we're picking up this one Which is the three which is the next one would go back to the major. So this is the last one So we're going to say enter Copy that down until it repeats copy it down until it repeats and it didn't repeat yet And there it is and then this one is going to be equal to that three And then I'll just copy that down and allow it to repeat on down through the ages Okay, and then low Korean I think everything should be populating with that one So now we have the B as the starting note and it's relative Major now is the two note if I'm thinking about it in low Korean because it was the seven When we're in the major scale and now and now we're starting with it as one So we're going all the way you were going right back to what was the one if you think about it in major when you look at the circle Which is going on going around the circle here. So hopefully everything is populated properly there next time Notice what we can do now is is any of these modes that we're in I can use this same The same fretboard because all the same notes are in it and then I can just pick the mode that I want to have next to this So if I want to be over here next to the to the Phrygian, I can hide All of these cells and now I can be thinking in terms of Phrygian mode with the same fretboard Which has the same notes and all of these modes because they're all relative to the C major scale If I unhide this right click and unhide I can change all of this Hopefully just automatically by this one key note here if I change this to a six, which is the D Now I should have the D major here. I can go down here. There's the D major and Then I can go to the right and I have the relative Modes the relative minor and the relative Dorian the relative Phrygian And so everything should populate and change automatically. So this whole thing is great in and of itself But we can make it even fancier possibly By saying I would also like to be able to pivot not just from the major here to what's related to the major But I might want to say what's what's also if I use D as my pivot root note Then what are the other modes with a D in it? I'd like to list all the same modes But all the ones that have D as the root and I'm gonna try to put those Underneath now so now we're gonna construct the same thing But we're gonna go down and we're gonna try to be able to then say it like I can play all the different modes That use D as the root from any of these starting points and so that and I'll do it over here, too So I could say here's the whatever this is. This is a B. I'll put everything related to it You know underneath it which will have that same root So now we can we can kind of try to have a worksheet where we can move around and play the different The different modes without having to change the keynote so that we don't have to change all the fretboards and whatnot And we can and we can use multiple kind of fretboards as we're thinking of going from one fretboard To another fretboard which has different scales to it So we can use different colors to represent the different scales So if I go from a C major to a C Minor then I'm then I'm not gonna have the same notes, but I might want to do that So I want to have the two fretboards so I can have up top the C major and then down below the C minor which has the The different notes involved in it. So that's what we'll start building next time