 Guitar and Excel see major A minor 7 note scale as opposed to the 5 note pentatonic scale position starting on fret number 9 intervals. Get ready and some coffee because we need to approach the vast topic of guitar using a strategy outlined by the old adage. How does one eat an elephant? You start by avoiding the tusks. Then you isolate the behemoth from the pack, focusing on the lame one, the one that already has a limp lacking behind the rest. It's best to start with the low hanging fruit, not to mix metaphors here. Isolating the target allows your pack to sneak behind the bewildered beast. At which point you focus all of your attention on one spot, targeting one highly vulnerable, sensitive and preferably vital body part like the Achilles heel, the spleen, possibly even the testicles. Once you see the pain and fear mounting in the eyes of that living mountain of flesh, once you hear the blood curdling scream of an elephant in terror, you go for the jugular. And then after the giant is down, you eat your fill of elephant flank steaks, wolfing down what you can while you can before reluctantly leaving the carcass to the ever increasing pack of hyenas circling round. Then you got to permit the pack of hyenas, the savage scavengers to finish up eating the elephant before there's enough of them gathered to eat you and your elephant hunting crew too. The hyenas then leaving the bones to be pecked over by carrying. That's how you eat an elephant. That's how you eat an elephant. What do you mean? What do you mean, Phil? The way you eat an elephant is one bite at a time? I mean, how are you ever going to get one bite if you don't first avoid the tusks, Phil? I mean, it's hard to eat a bite of anything while impaled on elephant tusk. Honestly, like getting elephant eating advice from you is like getting military advice from the Biden White House. That's where it's unadvisable to say the least. It's unadvisable. Hey, hey, I know maybe we should pay the pack of hyenas to cover our back as we pull a cowardly retreat due to threats from some angry dwarf mongoose moving in on our food. Yeah, trust in the hyenas to cover us. I'm sure that'll go well, one bite at a time, one bite. Okay, okay, Scar. Whatever, Phil. Let's just do some guitar. 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 helps to orientate us. So let's go to the first tab so we can get that overall overview. We've been looking at the C major scale and related modes. We started looking at open position, which I would define as frets zero through three, 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 that are constructed from the scale, starting with the one chord, the C major chord, mapping it out in open position, discussing it in detail. We then went to the four chord because it also has a major chord construction, did the same thing. We then moved to the five chord for the same, back to the two chord, which has a minor chord construction, the three chord, and then the six chord, and then the seventh chord, which has a diminished chord construction. If we were to map out all of those chords in open position, we would see basically all the notes in the C major scale and related mode, which would look something like this, the blue notes in open position. We then wanted to move to the middle of the guitar, not starting with the learning of the chords in that position, but rather with scale positions that we can then tie to the open position chords that we have learned, starting on this position, which I would call position one, or a G shaped position. We discussed it in detail, tying it out to each note in the C major scale and related modes. We then went to the next position, which starts on fret number seven, and we saw how it can tie into the prior position. This is what I would call position number two, or an E shaped position. And then, and now, we are moving to fret number nine. So we started with this worksheet to look at the next position, which we're going to say is starting on fret number nine, and we mapped it out in terms of a pentatonic scale. Then we looked at the full major scale, and now we want to take a look more in depth at intervals. So a quick recap of the color scheme in this area, noting that this whole thing then is our fretboard, the E on top represents the low or heavy string, the one closest to the ceiling. We mapped out, you can imagine on the bottom all the blue notes first. So all the colored notes you can imagine have blue underneath it. That's all the notes, seven notes in the C major and related modes on the fretboard. And then on top of it, we mapped out the five out of seven notes that are in green that make up the pentatonic scale. So that kind of fits inside of the major scale. That's how I would envision it, remembering that that pentatonic scale ties in beautifully if we're thinking about the C major scale, as well as its related minor or Aeolian mode. If we're thinking about any other mode, such as the Dorian for example, then we have to kind of tweak our thinking of the pentatonic scale to add the vital notes that are going to be in the other modes. The blue note then is representing, not the blues note like in the blues, it's representing these two other notes that are added over and above the five note pentatonic scale to get to our seven note major scale. Now, these red bars here represent position number one. I would call it position number one because it's the most common kind of position we learn from a scale perspective. You can also call it a G shaped position because you can see that it basically makes a G up here if you're looking at the C major. So it's a C chord. This would be a G shaped C chord that fits in here, doot, doot, like this. We'll talk more about that later when we get to the caged system remembering that this shape only fits uniquely if you're talking about the five note pentatonic scale or the three note chord, but it will not be uniquely fitting into that shape when you add the seven notes. So you can still name it based on that, but you have to be careful there. And then the yellow represents where we started on position number seven, which I would call shape number two. You can call it an E shape because if I look at it in terms of the C major, then it would create an E which would look like this. An E shaped C, which would look like that. In other words, if I pulled this back down here, it would look like that. If I push it up to here, it would look like that. You have that shape, which is here, here, here, here, and here. That's our bar chord. And then we move up to position number three, which you can call a D shape position, which a lot of people see like with this little D shape here. That's a C chord D shaped. If you're looking at it in terms of C, but to pick up the full thing, you'd have to bar off or pick this one up. So oftentimes you play it something like that, which would be this, this and this. And so this is where we are right now in this, in this green shape. The position number three or the D shape. We talked about the pentatonic. We talked about the major scale within it and doing the fingering of it. And now we want to go into the intervals. I'm going to go to the tab to the right. And this is a worksheet that I put together later. So if you want to learn how to put this worksheet together, we have a course or section on it and that we might do actually later. But I've added down here on this worksheet, the intervals and we'll talk more about intervals, another course or section. But as we kind of go through the scale, we can learn the scale position and we can try to learn the intervals. And this is something I would advise doing in the morning so that we can try to pick up as much as we can in like a small exercise when our mind is most active. And one of the goals of this is to distinguish between all of the different numbering structures we have to deal with, with the guitar. If we can just identify the difference between them, then it'll make the understanding a lot better. In other words, we have a system for the notes. We typically use an alphabetical system, but we can also use a numerical system for the notes, which I argue can have its uses and I think it's well worth doing. So we'll talk about that. And then we're going to have a numbering system in terms of the whole, whole half steps that we take in order to construct our scale. And then we have also a numbering system in terms of the notes within a scale. So these are seven notes out of the twelve that we number relative positions to the notes in the scale. We can also see that numbering system this way, Roman numerals, which will give us an added layer of in-depthness because we have the uppercase versus the lowercase, uppercase being a major chord construction from that note, the lowercase being a minor chord construction. So that's a nice little shortcut. We also then have intervals that we can think of in terms or relation to the chords that we're constructing. So that's another kind of interval that we have to keep separate. So we might be basically looking at the second note in the C major, but then when we construct a chord from it, we're thinking of it as the center point, the starting point, and we're thinking about the distance from that point to get to the one-three-five positions of that. So that's kind of a lot of numbering systems that we have to keep in our mind. So if we do a little exercise to try to keep those as straight as possible, then that's useful for us to do. So let's go back just to get an idea of this to our worksheet over here. And remember that we have then our numbering system this way. Let's go to the OG tab and actually look at this. We know that in our OG tab, we have our alphabet of our musical alphabet, which starts on A, but it doesn't just go A, B, C up to G. We also have to remember these sharps and flats. So I'm going to represent the sharps and flats by a small A, B, because we can name it multiple different ways and that's just easy for me to do in Excel. So we have our musical alphabet as A, and then there's an A sharp or a B flat, and then a B, and then a C, C sharp or D flat, and then a D, and then a D sharp or E flat, and then an E, and then an F, and then an F sharp or G flat, and then a G, and then a G sharp or A flat, and back to the A. Now once you do that a few times, you can get that, but it's not like you can sing it like the musical alphabet very easily, especially when you have these two terms for one note. So it's really difficult to say it backwards. I'm just trying to say the alphabet backwards, G, F, E, D, C, B, A, takes time to be able to do that. It's a lot easier if you number them, so we just number them one to twelve, and if I can code switch between the number and the letter, then in certain instances I can use some simple math and some simple counting to do this. So I'm just going to say an A is a one, an A sharp or a B flat, I'm just going to name it as a two, you can call it either one, but for the simple numbering system it's a two, B is a three, C is four, C sharp or D flat is a five, a D is a six, D sharp or E flat is a seven, an E is an eight, an F is a nine, an F sharp or G flat is a ten, a G is an eleven, a G sharp or A flat is a twelve, and then we're back to the one, which is going to be an A. So that's why in our fretboard I have a number and a letter. Then we have the numbering system for us to basically try to come up with the seven notes out of the twelve notes that we have listed here. How do we do that? Well, we just use the formula. I'm not going to get into why we do the formula. It's basically, we're going to take that a priori as that's just the formula for the major scale, which we typically think of as starting point. So if we start on a four, which is a C, we're looking at the C, and we apply the formula, which we can say is two, two, one, two, two, two, one. This is in terms of steps or half steps, or in other words, whole step, which is two notes up, whole step, two notes up, half step, one note up, whole step, whole step, whole step, two note, two note, two note up, and then half step, one note up. So if I think about that in terms of simple math, we would say, well, if note number four, absolute note number four is a C, and I go up two notes or two steps, I get to six, and I can code switch and say six is a D, right? And then I go up two steps or a whole step, getting to eight, and I code switch from eight is an E. And then I go from eight, one half step up to nine, note number nine is an F, and I go up two steps to note number 11. Note number 11 is a G, going up two steps to note number one, because it goes to 12. There's only 12 notes back to one, is going back to an A, and then up two steps gets us to one, two, three, three is a B, and then a half step brings us back home to the four, which is a C. So this formula, whole, whole, half, whole, whole, half, is telling us the interval between each note, right? It's telling us the distance between each note. Now we can also think about the distance from the root note in the scale. So, and those distances are labeled down here. I'm labeling it this way, and you have terms like perfect first, you know, major second, minor second, major third, perfect fourth, and so on and so forth, so that we can then label the distance of each note in the scale to its starting point, and which is a little bit more difficult than you would think, because we only have seven out of the 12 notes. So, and we're talking about total difference in terms of total notes, 12 note steps, or half step distances. So that's, we'll talk about that a little bit as we go here. And so then if I, so if I look at this worksheet, now I'm on the scale overview worksheet, and we go down, say, to here, for example, then our general idea, if we looked at a piano, would be, would be that we, if we started on a C, then we would go up using our whole, whole half, right? So it's whole step from C to D, whole step from D to E, whole half step from E to F, whole step from F to G, whole step from G to A, whole step from A to B, half step from B back to C back home. Our goal on the guitar, however, is to not play it like a piano this way, but really to play it in one position. That's why we're cutting the fretboard into basically these five chunks so that we can go down. Now when we go down, then the question is, well, if I go from like this D to that E, how far is that in my mind? If I was to think of it similar as linearly, well, it's going to be a whole step, right? The D to the E, the next one up as an E here, instead of going up a whole step, if I had my, my finger on this one, where is that, on that D, instead of going up to this E with a whole step to here, I'm going pinky to pointer. So pinky to pointer D, this D to that E is a whole step. So if we keep that in our mind, then I can, I can apply my formula of whole, whole half, you know, and so on by, by in one linear or one position, forefinger position on the fretboard, because I know the distance from here to here and why is that? Because the distance from each string is basically five notes, or you can call it a perfect fourth. In other words, if I was to go, if I had this E, you know, I went up one, two, three, four, five, you go up five notes to get to that A, the next string down is an A. So if I get, if this was, if I was pointing on this, you don't need to because it's the nut, but if I was fretting that and I went up to my pinky, my pinky would end here, end here, and instead of basically going up to this A here, I'm going to bring it down to the next open string. That's how it's designed to perfectly fit your hands in one position. So that's the idea. So if we know that then, and the difference between that is between these two strings. So these two strings have a kink in the tuning. So it's not going to be a pinky to pointer position. Instead, you could see this F right here that you can imagine playing like with your ring finger is going back here. So it's the kink in the tuning right there. So it's whole step up from here to here, from here to here. Okay, so that's going to be the general idea. So once we have that down, we can then go and say, let's go through our fingering position here and try to name out as much as we can in our mind to basically understand this whole system. So what we have here, I'm going to start on the C and I'm going to go from one to two now. I'm going to start on this C out here, which is outside of our position because I want to start on a C. We're going to do this from the idea of a C major, but you can do the same thing in relation to other, to every mode. So you probably want to do it with the C major and then the A minor. If you wanted to, the next thing would be to do that. And then later on, we'll talk more in depth about doing this kind of exercise for other modes as well. But we'll start here with the C major and I'm just going to finger it just like we did before, but then I'm also going to try to name as much as I can to try to understand as much as I can with one little exercise in terms of kind of like theory. And the goal is to do this enough time so you don't really need the worksheet anymore to do it. But obviously the worksheet will be helpful at the start. So let's just go through it a few times here. So we're going to say I'm going to start on this C, which is outside of my shape. And I'm going to just say in my mind that this is going to be on plain a C major scale and the first of the C major scale, which I used to be calling relative position number one because we're naming it first because it's relative to the scale that we are in, as opposed to this number four, which is an absolute position four is a C when I'm talking about the notes. This one is relative to this scale position that I'm looking at. So I'm going to say the first instead of one represents this position in terms of this numbering system in relation to the C major scale. So I'm going to say we're going to, we're playing the C major scale. I'm going from the first to the second and the first of a major scale clearly has a major chord construction. So you might actually play the major chord or you might just basically say that in your mind. This is an E major shaped C major chord. And then I'm going to go from position from the first to the second. So I'm going to finger that and then I'm also going to repeat is a whole step. So I'm saying it's a whole step which I can see here with this two because it's going from four plus two from this two plus two up to up to the six, right? So now we're on the six, which is a D. So I'm going to say this is going to be, I'll say it again. This is going to be four plus two goes four, five, six. And I know I know that a six in terms of notes is a D and therefore D is the second of a C. So I'm going back to the C major scale. And I know that the second of a C major scale has a minor chord construction which you could then play if you want to. But I won't play it all the time. I'll just say it for now. We'll start to play those later. But I know it has a minor chord construction and I know the interval of the second. Now I'm looking at the interval in terms of relative to the scale position C not the interval in between each position which will be the same this time, but we'll differ later and that's where this terminology comes down here. So I know the interval of the second of a C major, of any major scale is what we call a major second. That's why it's a capital M and the second represents one through seven notes in the scale and this number two up top is the absolute number or distance from the first note in the scale which is a C. And then I can get that in my mind by saying that's a major second. So I'm also going to work on my ear to see if I can kind of basically get that in my mind. So then we're going to go from the here to I just put it on the next tab here. So now we're going from the second to the third, second to the third, second to the third. So now I'm shifting my finger up to here. I'm actually in my position that I wanna be looking at this time and I'm going from the second relative position to the second to the third, which is a whole step which I can see right here and obviously it's two notes away so that distance is a whole step going from note number six which is a D plus two, six, seven, eight to note number eight and I know that note number eight is an E and therefore E is the third of a C major scale. Right and then I can go to this and say, okay I know that the third of any major scale has a minor chord construction that's given to me by that number three right there that's lowercase and I know that the third of a major scale has an interval of down here you can see a four note away major third. So the capital M represents the major third and you can see it's actually four notes away not three notes away. So it's the third because it's the third in the scale but it's actually four notes away in terms of absolute notes which is different than a minor which is different than if I was in a minor scale right. Okay so it's a four note away and then I can say okay and then there's gonna be the tone of it so this is a four note away major third which sounds like this we're gonna say and so I try to get that basically in my ear and then I'm gonna go to the next one so we're gonna say okay so now we're going from the third to the fourth which I can say here to here went from here to here we're going from that third to this fourth which is going from note number eight which is an E up one this time half step to note number nine note number nine is an F so therefore we know that note number nine is the fourth of a C major scale and any fourth of a major scale has a major chord construction which I can see by the capital number four here and any fourth of a major chord construction has an interval of a five note away and we can see it's here it's because it's two notes plus two notes plus one note I could see it here represented by the five and we call it a perfect four that four at the end represents that that's the fourth of the scale and we'll get it perfect just as what we have to call it because it's perfect and you can kind of say the perfect so usually the same between the major and the minor and it's actually five physical notes away because if I started here one two three four five and it sounds like this so we have a five note away perfect fifth okay so then I'm going to go let's go to the next one and say now we're going to go from this fifth to this one so that's going to be going from the fourth to the fifth here fourth to the fifth here so if I see that we're on we're going from the fourth of a major scale to the fifth of the major scale which is a whole step which I can see by this number two right there going from note number nine to note number eleven note number eleven is a G and therefore G is the fifth of a C major scale and any fifth of a major scale has a major chord construction which I can see by that number five right there and any fifth of a major scale has an interval of a seven note away perfect fifth which I can see because if I add all these up we've gone a distance of seven right now it's the fifth and it's seven notes away and then I can try to get that in my mind by saying there's my little that's my power chord perfect fifth seven note away perfect fifth alright and so then we're going to go okay so let's go from the fifth to the sixth which is the next one so fifth to the sixth fifth to the sixth fifth to the sixth so now we're going from note number eleven to note number twelve around the horn to one where you could say thirteen minus twelve because there's only twelve notes in the musical alphabet gets us back to a one which is an A and so therefore A is going to be the sixth of a C major scale and any sixth of a major scale has a minor chord construction which I can see by this lower case here and any sixth of a major scale of a major scale has an interval of a nine note away major six so it's nine total notes away and that is defined as a major six that six is representing that it's the sixth of the scale that we are looking at and then I could try to get that in my mind that's what that interval kind of sounds like in terms of the ear and then I'm going to go okay let's go from that to the next one and so now we're going from the sixth to the seventh we're going from here sixth to the seventh and then sixth to the seventh so we're starting on the note number one going up then to note number three we're going a whole step up from note number one to note number two three and then I can say I know that note number three is a B and therefore B is the seventh of the C major scale and any seventh of a major scale has an interval of a diminished represented by that little dot there so it's kind of like a minor but it's going to be a diminished we'll talk more about the chord constructions later but that's going to be like the funny one and any seventh of a major scale has an interval of an 11 note away major seven so that's what it means a major seven is total distance of 11 notes away and I can get that in my mind so you get kind of that dissonance ring to it and then we can go from the seventh to the eighth so then I'm going to go from note position number position number seven in our major scale to position number eight or back home to one which is a half step going from note number three to note number four and note number four is a C and therefore C is the eight or back to the first of the C major scale and it has a obviously a major chord construction because we're looking at a major scale and it has an interval which we can call a perfect first or 12 note away perfect first that's what the octave sounds like then of course we can do the same thing from here I'll try to do it a little bit faster and so if I was going from C I'm going from position one to two position one to two position one to two so I'm going from position one of the C major scale to position two to position to the C major scale which is a whole step going from note number four to note number six number six is a D and therefore D is the second of a C major scale any second of a major scale has a minor chord construction represented by the lower case here and any second of a major scale has a two note away major second that sounds like this next we're going from the second to the third here to here here to here here to here now if we put our pinky on that D we could say we're going from the second of a C major to the third of a C major which is a whole step going from note number six up to six seven eight note number eight is an E and therefore E is the third of that C major scale we could see this relationship that's what a third often looks like or one way you can play a third it'll be different between these two strings because of the kink in the tuning we know that the third of a major or any major scale can make a minor chord construction therefore I could construct from that note an E minor chord and the third of a major scale has a total distance of four notes away and we call it a major third and the major third then sounds like this and then we can go from the third to the fourth and say we can say boom third to the fourth we're going from here to here here to here here to here so now we're going from the third to the fourth which is a half step going from note number eight to note number nine note number nine is an F and therefore F is the fourth of a C major scale any fourth of a major scale you could see the relationship that's going to be the common relationship whenever you see the interval of the fourth so any fourth of a major scale has a major chord construction so I can build an F major chord that will fit into the scale and we know that any fourth of a major chord has an interval of a five note away perfect fourth so total distance five note away perfect fourth perfect fourth looks like this or this is one way that you see that construction except when there's a kink in the tuning which would be the two strings below it and so the perfect fourth sounds like this and then we're going to go from the fourth to the fifth so now we're going from here to here here to here here to here so we're going to go from the fourth which is going to be from the fourth to the fifth going from note number nine to note number 11 note number 11 is a G and therefore G is the fifth of a C major scale any fifth of a C major scale has a major chord construction so I could build from that note a G major chord that would fit into the scale any fifth of a major scale has a distance or interval from the first of a seven note away total distance seven notes perfect fifth so the perfect fifth then sounds like this and this is your common shape from that C to that G which is a power chord looking shape sounds like that and then we're going to go from the fifth to the sixth so we're going from the fifth to the sixth so the fifth to the sixth of a C major scale tune tune which is a whole step going from note number note number 11 to note number 12 and then back to one which is an A so note number one is an A notice the distance here looks different it's not pinky to pointer because of the kink between the tuning here so now it's basically ring finger to pointer to get that whole step distance and we know that the A then is going to be the sixth this A is the sixth of a C major scale and you can see that distance here or the relationship between those two notes will only hold because of that kink in the tuning so if this was on the third string from the top and this was on the second from the bottom it would look like that to get that sixth and then we know that the sixth of a major scale has a minor chord construction so I could build an A minor chord that would fit in the scale from that note and we know that the sixth of a major scale has an interval of a nine note away total distance which we call a major sixth interval that sounds like that and then we're going to go from the sixth to the seventh so now we're going from the sixth to the seventh which is going to be a whole step going from note number one to three to note number three note number three is a B and therefore B is the seventh of a C major scale and any seventh of a major scale has a diminished chord construction that we can see by the little dot here so if I build a diminished chord it would fit within the scale any seventh of a major chord construction has an interval distance of 11 total notes away which we call a major seventh and that's going to sound like this so tensiony sound and then we're going to go from there finally back home going from the seventh to the eighth so now we're going from the seventh of a C major to the eighth of a C major which is going to be a half step going from note number three to note number four note number four is a C and therefore C is going to be the 12 note away octave of the C major scale which basically sounds like that now we could go in reverse too so you could keep on doing this going up here notice that we're not going to get back to another C but you can still map out the differences just like you would play the scale going all the way up and then going all the way back I won't do it here because I know I'm taking way too long if you got good at this what you're trying to do is get your language and everything as tight as possible so that whenever you have like time when your brain is working best usually like I would think in the morning you could try to cram as much kind of theory in by just walking through the scale and trying to repeat this stuff in your mind or out loud if possible and that'll help you and that'll help to sync it in your mind so that when you practice like in the evenings and stuff then it'll start to take plant and the seed will be planted and you can keep going from there so then of course you could do this backwards though and I just want to point that out so if you if you went from like this going backwards so now I'm starting on the eight or the one and and then I'm going back to back to the the seven so we're going from the eight to the seven here so we started here this is one two three four five six seven eight so now we're here on this C and if I go backwards I'm going to relate everything to this C instead of that C and you could think of your intervals related to this C which could be a little bit tricky at first but then you'll start to get your mind around it so now I'm going from the one or eight down in a C in a major scale to the seventh going from the eighth to the seventh is a half step in a major scale going in this case from note number four down to note number three note number three is a B and therefore B is the seventh of a C major scale the seventh of a major scale has a diminished chord construction which you could see by the little dot here and we know that the seventh of a major scale has a interval and of an 11 note away major seven so I can see that if I play this way from from this C to that B but now I want to see it this way so I'm going from this C back down I'm relating it to that C and so then we're going to go back down from the seven to the six so I'm going from the seven to the six now so we're going from the seven down to the six which is a whole step going from note number three down to note number one note number one is an A and therefore A is the sixth of the C major scale and the sixth of a major scale as I can see with this six right here because I'm going from the seventh down to the sixth instead of going up so it's a little wonky on the worksheet to get your mind wrapped around it but the six has a minor chord construction so I could build a minor A chord that would fit in the scale and the six has an interval of a nine note away a nine note away major six which we can say okay it's a nine note away major six so I can play it from this C here whoops and you can see it this way but now I'm playing it from the C below it versus the top right and then you can keep on going through that way so now we're going from the six down to the fifth so going from the sixth down to the fifth is a whole step going from note number one down to note number twelve so around the horn twelve to eleven so to eleven which is going from one down to eleven note number eleven is a G and therefore G I know is the fifth of the one below it which is a C major chord and any fifth of a major chord has a major chord construction meaning I can build a G major that would fit in the scale and any sixth of a major chord has an interval of the seven note away perfect fifth which I can see playing this way now one below it or if I compare it this way there's my power chord just want to play it this way and you can start to see the inverses of the fourth perfect fourth versus a perfect fifth that's kind of why when they said something had to be a perfect fifth they also had to make like a perfect fourth because of this is a perfect fifth and the because they're kind of inverse of each other right so I won't keep on going through the whole thing that's going to be the the general idea you can go backwards and forwards and try to get that to to where you can go up and down at least from a C to a C within a short period of time mapping out as much as you can once we get that down we could do the same practice with any mode in here as well so I'm going to go back to the to the prior tab so if so I won't do this will do this more in a future course or section but you we talked about in the finger in that you could start on any of these notes and you could do the same thing starting on the second and that would be I'm playing around the D but I'm going to make make it as though it's the one and think of all the intervals in between when you start from a D going from the to to the to which basically means that you're playing in a Dorian right so that would be like playing in the Dorian hide this mode and so you could do a similar a similar kind of routine where you where you start on the D and you go through now I haven't made another worksheet like this to compare everything for every mode we'll talk more about that later so you get these total distances for each of the modes but you can kind of count through on the Dorian in a similar process and say okay what if I make that the one or you can think of it as I'm going to be playing around the to and what are the intervals as I go from to the to thinking of it as kind of my route and obviously the second most common one is the the made the minor scale so if I unhide and we look at the minor scale that's the next one you probably want to go to so I can say let's hide here and and I do have you could use this little worksheet on the minor it's just that you're going to be starting at like of the a and then you can follow the same worksheet which which has the same kind of intervals now it would be whole step half step whole step whole step half step whole step whole step to get back home it's the same worksheet it's just starting at a different point if I started on the C you can see it would be whole step whole step half step whole step whole step whole step if I started on this C it'd be whole whole half whole whole half I'll hold on I don't I've I've hid some cells here so you can't do it perfectly like that but that's what that's what it would be but I've got some hidden cells between these two but down here I don't have any hidden cells so if you copy the same if you if if I go to the og tab you can see it here so if you started on the C it would be whole whole half whole whole half bringing you back to C if you just started on the a and I did the same pattern it would it would be whole half whole half whole whole so that's just the difference in the modes which gets kind of confusing when you start to to mow that over but you can apply the same kind of of routine here by looking at the minor and you can think of it as the one where you can think of yourself playing around the sixth and then and then go through basically your intervals because the shape is the same it's just now that you're going to be starting on the a and think about the differences if that is basically kind of like your central point and come up to a similar routine so again we'll talk about doing that more in a future course or section when we just talk about modes in particular