 Guitar and Excel, C major, A minor, scale fret five, intervals. Get ready because it's time for our guitar skills to... Excel. 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 may want to begin back there. However, you don't necessarily need access to this workbook if looking at this from a music theory standpoint, because we'll simply use it as a tool to map out the fretboard. Give us the scale, the notes, the chords that we're focused in on. If you do have access to this workbook though, there's currently like 10 tabs down below. We've got a bunch of these example tabs. We've got an OG Orange tab and we have the practice tab on the right. The OG Orange tab representing the original worksheet we put together in a prior section. It now acting as the starting point, going forward, mapping out the entire fretboard two times over. Giving us our entire musical alphabet in letter format, number format, and letter and number format. Giving us a key that can change the scale that we're in with this green cell that will populate our worksheets on the right hand side. Providing us the key that we are in, the notes in that key, as well as the chord constructions for the notes in that key. We then wanted to look at the key of C, go through each of the chord constructions in open position from it starting with the one chord. So we did that over here. First three frets is what I'm going to define as open position chords. We mapped out the one chord, the C major chord. Then we went to the four chord, jumping down to the four chord because it's going to be a major as opposed to minor chord. Then we went to the five chord constructed from the C scale again. Then we went to, and that's going to be the G chord. Then we went back up to the minors, the D minor chord, the two chord, the chord construction off of the two note. And then we went to the three chord and we built that one out, which is going to be the E minor. Then we went down to the six, which is going to be the A minor. And then we looked at that diminished the chord built off of the seven note. Now, as we did that, we basically mapped out the entire scale in open position. So now what we want to do is move up the fretboard, but instead of learning up the fretboard in terms of actual chords, we are now learning it in terms of scale positions. And then we'll learn the chords when we talk about the caged system, which will basically push all of these chords that we created up the neck. So that's what we did here. Now we were looking at the pentatonic scale. We're going to start in position five right in the middle of the fretboard because that's just a logical place to start. We look at the five note pentatonic first because it's going to be easier to finger and the quickest thing to play around with and then map out to the open position chords that we looked at. And now we're putting the major notes on top of it. So last time we talked about this on more of an intuitive basis looking at now fret five, but we have one note that's grabbed over here on fret four. And then we mapped this out and talked about how we might add those extra notes intuitively so that we can finger those positions. Now we want to think about it more in terms of the intervals and look at the scale relationships related to it. This is similar to what we did when we did the intervals with the chord constructions over here, where I said it might be good in the morning. I would do this kind of like the morning work when your mind is still working. If you got 15 minutes to a half an hour to basically just walk through the scale and a little bit more rigor in your mind and map out exactly what is happening within it. But before you can do that, I just have to give a recap of these numbering systems which give an idea as to why we need to do this kind of thing. So remember all the different numbering systems we have to keep straight in our mind is one, we've got to at least name each of the notes over here. We can name each of the notes by letter, but we can also do it by number. So that's one numbering system. We have to number the notes that are in each position in the scale that we're picking to use. That's going to be this numbering system. We might use a Roman numeral system which will give us more information about the chords constructed off of those scales. The uppercase being the major, the lowercase being the minor, the dot representing the diminished with a minor third because it's lowercase. And then we could have these interval numbering system which is giving us an idea of where it is in relation to the first note of the chord that we are constructing. And then we can basically talk about the absolute intervals as well. So these are a bunch of different numbering systems that we have to kind of keep straight in our mind. So first let's go back to the OG tab over here. Let's actually do it in here this time. I'm going to select column I up top and I'm going to go on over to AK and I'm going to unhide some of those cells. So we're going to unhide here. And then I'm also going to have to unhide some cells between the 51 to 60. I'm going to select those two cells, right click in there and unhide. So we'll unhide that as well. And then if I go to the right, I can see this column representing the entire musical alphabet. So we have the entire musical alphabet A. And then if I'm going up, it's going to be A, A sharp B, C, C sharp D, D sharp E, F, F sharp G. G sharp starts over again if you're going back. Then it's going to be A flat, G, G flat, F, E, E flat, D, D flat, C, A. B flat A, right? But that's a little bit confusing to say. If you number them, which we'll do here, then it's pretty easy to go 1, 2, 3, 4, 5, 6, 7, 8, 9, 11, 12, 12, 11, 10, 9, 8, 7, 6, down to 1, right? That's going to be easier to do. It's also easier to see the intervals. So I recommend first, you don't have to do this. You can get the benefit from this presentation without knowing the numbering system because we'll put the letters there too. But I think it's something useful to memorize that A is a 1 and then A sharp or B flat, the same note tone-wise as a 2. A B is a 3. A C is a 4. C sharp or D flat is a 5. A D is a 6. D sharp or E flat is a 7. E is an 8. F is a 9. F sharp or G flat is a 10. G is an 11. G sharp or A flat is going to be a 12. That's a nice, simple system for us to look at these intervals very easily. The next numbering system that's useful to note is that with a major chord, we have just this formula of it's going to go two steps up, two, whole, whole, half, whole, whole, half, right? So if we start on a C then it's going to be a 4. If we know that C is a 4, 4 plus 2 is 6. 6 is going to be a D. 6 plus 2 is 8. Whole step up to 8. 8 is an E. 8 plus 1 is 9. Half step up, that's going to be an F. 9 plus 2 is 11. That's going to be a G. 11 plus 2 takes us to 12 and then around the horn back to 1 because there's only 12 notes. 1 is an A. 1 plus 2 is 3. That's going to be a B. And then we go back home, one note back home to get to 4 and that's going to be the C. So now we're back home. This formula, we're not going to get into why the formula is that wave right now. We're just going to accept that A priori and now we're just going to say, okay, that's everything's being built off of that formula. That's basically what is happening at this point in time. So what we want to do then is when we go over to our positions, I'm going to delete these ones. We want to be able to map out the scale on our fretboard. Now the natural thing to do is to map it out on one string. So I'm going to make this a little bit smaller here and let's actually hide these from Z to A. I'm going to hide those right now, right click and hide so that I can just see this formula whole step, whole step, half step, whole step, half step and I can see my fretboard. And it might be a little bit easier actually if I hide this again, if I go from 52 down to 64, right click, right click and hide and now I'm just going to look at when this formula basically repeats. So it's going to be right here. So if I go from here down to here, we'll just look at that piece of the formula and so we'll say, so that's a little bit more in our range. So if I was going to build this out, we could say, okay, that's going to be a C and then we're, and so that was going, now we're going to go a whole step up, right to a D. So we want whole step up to a D and then we're going to go a whole step or two notes up to the F, right? We want a whole step to the F. I'm sorry, I'm getting confused while I'm trying to pull these boxes over here. We want a whole step from a D to an E and then we're going to go from this E and we're going to go a whole step up. I mean, it's our half step up to the F. So then we're going to go a half step up to the F if I map this out on one string and then we're going to go a whole step up to the G. So I'm going to say there's my G. I'm going to copy this and paste this down again and then we're going to go a whole step up to an A and then we're going to go a whole step up to a B and then we go a half step back home to a C. So that's kind of like if we mapped it out similar to what would happen on a piano, right? So one string on the guitar is similar to what happens on the piano. Now, what would you want to do, of course, if you're on a guitar? It just makes sense that you would say, okay, look, if I'm mapping this thing out on the guitar, what I would like to do is make this scale playable not on one string but in one hand position. And you could see that's basically the idea of what has happened here. Now, how would you do that if you were designing the guitar? Well, you're going to say, well, the interval between these two strings, I want to make it such that when I get to my pinky finger, if I'm playing this note with my pointer finger, when I get to my pinky finger, then I would like to come back on over here because I only have four fingers. So I can basically as much as I can play all the notes on four frets. That's going to be the idea. Well, how would you do that? Well, then you would have the interval between the strings be five notes about, right? And that's why we have this interval of the five notes. I want to return to the idea of this interval basically being five notes. Let's pull out the trusty calculator to just check that out. Remember that people will say that the interval is like a major fourth or a perfect fourth and they're talking, I believe, as if we're talking about these kind of intervals over here, even though we don't really see a fourth most of the time. Sorry, my voice is going. Don't go, voice. You're all I've got. I need you. Don't go. Okay, any case. So we have the first, we have the third, which means if it was a major third, it would be four steps away. We've got the fifth, which is seven steps away. And then the fourth is one that we don't usually map out because we usually skip it, but it's kind of equivalent to the 11th, which is five notes away from the original note, right? But that's difficult to to envision. You just it's easier when we're trying to figure this out to say, okay, what does that mean? Well, it means it's five notes away. That's what it means, right? Because and we could test that we could say, okay, well, if I have from e to a a is a one minus the eight negative seven, there's only 12 notes plus 12, it's five notes away. It's easier to see down here because we don't. So if I go from an a to a D, six minus one is five. If I go from a D to a G, we've got 11 minus six is five. And then the funny one, if I go from the G to a B, we're going three minus 11 is eight plus 12. There's four. It's four. That's the kink in the in the in the guitar. And then if we go to the to the E minus the B, which is an eight minus three, then we get to the five again. Now one thing I pointed out last time and I want to try to make it a little bit more clear possibly this time, the five interval is the important interval that we're usually going to be looking at because because we're usually going up and down the guitar in that direction. But we can imagine this. Let's go to the OG tab to see this so I can see two fretboards out. If if I imagine this fretboard and these notes as a circle, all of these notes are like a circle. Oh, no, what did I do? Undo and I put all these notes into into a circle and they repeat each other. Then then they're going to be repeating, right? So if I go down here and say, well, this string, let's start in the middle. If I go, if I go five frets up from that string, then I'm going to go one, two, three, four, five. And I get to the same note as the string below it, right? Or you can start at the string below it and say, how far do I have to go to get equivalent to the string above it? One, two, three, four, five. Boom. Okay, so if I started, but if it's five notes forward and there's 12 notes in the musical alphabet, 12 minus five is seven. So you would think you would also be able to go seven notes backwards, right? So that would be here. One, two, three, four, five, six, seven also gets you to a D. Now from a practical standpoint, we're usually going up, up and down the guitar using the five note interval. So if I have time, maybe I'll dive into a little bit more of the, of the, of what might happen if we use the seven note interval and we did, we did things kind of like backwards because usually what is happening is we're going to be counting up the guitar this way, right? We're going to be going, do, do, do, do, do. When I get to the fourth finger, I want to go back on over here before I'm starting from my A. I'm going to go one, two, three, four, and then I'm going to be back over here and the strings are from the heavy string or the low end pitch and going up. And that's what it's designed to be in a five, in a five note type of interval. So, so in any case, if you were going to a seven note interval then that would be like saying you're going to go backwards. I'm going to go backwards this way, seven notes to get, let's start from the E, go one, two, three, four, five, six, seven to get back to the A over here. So you, you would basically be building a scale as though you're going down musically, pitch wise, you're going from an E down, but then you're trying to get to the next note down by going up the strings and the strings are designed to be in pitch, to be going up in pitch and you're trying to go to the next note down. So it actually could end up with an interesting pattern, but I don't want to dive into that right now. I just kind of, I wanted to try to explain that a little bit better than maybe I did last time. I don't, not sure I did a good job of that, but maybe we'll dive into that later because it's kind of interesting. But in any case, if we go back on over here, I'm going to hide now from A to D and just look at the frets that are involved, right click and hide those. And then I'll try to hide everything past fret number 12. So this is one round of the fret board, right click and hide that. And then let's see if we can zoom in a bit to see what we have here. So you can see, because this is the major scale, we can see it as of course C major, that's what we're in, or any of the modes, including the minor. It just depends on where you're going to start. So this is what I would kind of practice doing. We're finally to the point where I'd say if you had the five minutes in the morning, you practice through the scale and just name what you're doing in a similar fashion that we did with the chords over here. Now most people are going to want to start on this A, but it might be easier first to think of it as the major scale and then kind of adjust it to the minor. So if I go over it, so if I was to say, okay, if this is a major scale and we could use this worksheet or you could use this worksheet over here. Sometimes it might actually be good to look at this worksheet because it gives you the intervals. Although it's a little bit messy of a worksheet, you've got to find where you want to be in it. So right, this is the starting note right here. But I can say, okay, if I'm right here, I'm going to put my pinky there because I want to have my fingers on four frets. So I'm on the pinky and then I'm going to go from that note up to two strings up to get to the six. Now if I was on the same string, I would go boom, boom up here, two notes up to get to the D, but that's outside. So I want to go on this side and get to the D here. So notice when I'm going from pinky to pointer, then that's a perfect fingering position. That's why whoever designed the guitar, if I'm just going to reverse engineer it, I'm going to guess that's why he did it, right? He's saying, look, I'm trying to get so when I have four fingers, four frets, one, two, three, four frets out and then usually most of the steps are whole steps, right? In our musical formula here. Therefore, I would like to get from pinky to pointer and a whole step. How would I do that? Well, I'm going to make the difference between the strings five notes, right? So now that makes it so when I go from pinky to pointer, then that'll be the next string right in position. So you can see it looks to me like the design of the guitar is to try to play the scale, not just up on one string, but down within a four to five fret fingering position because that's the shape of your hand, right? So then I would actually say out loud I'm going to be on relative position one of the C major chord, which is note four and a numbering system, absolute numbering system, number four C. And then I'm moving from relative position one to relative position number two. That's going to be a whole step. And so I can see the numbers here of the relative positions on this worksheet and I can see the interval here. You can also see the interval on this worksheet if you number it, right? Because then you can clearly see it's going from four to six and you can see it's a two interval. But if you're just using letters and you're not using the numbers, then you might want to have a worksheet that shows you that this is a whole step or two notes up. So then I would say, okay, I'm going from here to here. So instead of going out to here, I'm going pinky to pointer and that's going to be a whole step. So I'm going to go from relative position one to relative position two, which is a whole step or two notes away from note number four, which is a C, plus two for five, six to note number six, which is a D. Now, I know that's a lot to say, but again, if you repeat that like in the morning when your mind is still thinking you'll start to get into a routine and what that does is to me, it solidifies both the intervals as well as the numbering system for the keys if you want to learn that as well as the positions in terms of what position you're looking at in relation to the key that you're in. So if you can get all that in just by repeating and just repeating that as you go through the scale, I find that useful to do, although it's kind of tedious, but it's good just morning work just to get a little bit of a routine in per day to do that I think is useful. So then we're going to go from this one to this one. So now we're going from, I would call it relative position two, because it's relative position two to the C major scale and we're then going to be going up to relative position three and that's going to be a whole step because you could see here it's defined by this right there. So let's actually make it this way. It's going to be a whole step up or two notes going from note six, which is a D plus two, which is six, seven, eight and note eight is an E. So then we're going to repeat this and we go down again. So we're going to say now we have the half step that's rolling in here. This is the note that's not in the pentatonic scale because the half steps have been removed from the pentatonic scale. So now we're going to go here and I'll make this is the long one now and this is going to be the short one. And so then we're going to be going from, I would say relative position, we're going from relative position three, which is note number eight or E up one half step because there's a half step when you go up from three to four or one note away to relative position four, which is going to be eight plus one or nine and note number nine is an F. So now we're on the F here and then we're going to say, okay, and then if I'm going from that F, I'm going to go to the G. So let's bring this down here. This is going to be the long one now and this is going to be the short one. So then we'd go up to the G. Now this is going to be a whole step away, two notes away. If I was going up this way, then of course that would take me outside of my shape. I can go up to, there would be a G right there. But what I want to do is go from pinky to pointer, which is perfectly situated because one more whole step from here is down here. So now I'm going to go whole step up from relative, I'll call that relative position four, which is note number nine or an F, to relative position five, which is a whole step away or two notes away and therefore I'm going to take the nine plus two gets me to an 11. Note number 11 is a G. And so then we're going to say, okay, then I'm going to go from there to here and so that's going to be here to here and then we're going to go from here to here. So now we're going to say that we're on relative position five, which is this G or note number 11 G and we're going to go up to relative position six, which is a whole step or two notes away. So we're going to take 11 plus two, which takes me to 12, and then around the horn back to one. So now we're on note number one, note number one is an A. And then I'm going to go, okay, so let's do it again. This is going to be the short and this is going to wait. No, I didn't do the short that time. So now we're going to go from here to the seven. So now we're going to go, okay, now I'm on relative position six of the C major scale, which is note one or an A going up to relative position seven. Now relative position seven is a whole step away. And if I went a whole step here, it would be out to here, right? It would be outside of our position. Why is that an illegal maneuver? Because if I was to do that, I would have three notes on one string and I would be expanding one, two, three, four, five, one, two, three, four, five frets on one fingering position. We don't do that on the pentatonics. So we're going to say instead of going here, we're going to bring it back. We're going to bring it back and we have to do that little kink to do that and bring it back to this one. So you still have that interval of one, two, three, four, five and up one, but it's not usually the way most people finger it going to be going from pinky to pointer. It would if you fingered it that way, but most people are probably going to be fingering it this way, so they're going to go from the ring finger and then be reaching back an added fret than they normally would. But it's the same idea fret-wise because if you were fingering it this way, it would be going from pinky to pointer. A whole step up is, you know, the same rationale or same down one and back and back the same idea. So five, right? So one, two, three, four, five and up one or down one and back five. Okay. So we're going to say then, let's get this out of the way so it doesn't mess me up. So we went from relative position six, which is an A to relative position seven, which is a whole step. So we went from a one, which is plus two notes or two steps up, one, two, three, and note number three is a B. So it gets a little tedious, but then we're going to go down here. And so now we're on note number three and now it goes back up to the top, right? So we were here. Now we're actually going around because it's really a circle. So now I'm going, okay, now it's going to the C and did, did, did, did. And so now we're going, okay, we're going from relative position six, seven, which is, which is a B or three note three, which is a B up a half step, which is one note to relative position one, or you can think about it as relative position eight. If you want to think about it as the end, you might think of it as eight, but it's resolving back to one. So one and eight are the same thing. Sometimes it's useful to call it an eight. And then you're going to say, which is a half step. So I'm going up from three note three, which is a B up one note to note four, which is a C and that's back home. That's that nice half step. You always have that half step when you go back home. So then, so then I could keep on going down here, but I'm going to go bring it back up to the top. And so did to do and so do to do. And then this will be the long and the short. And then now we're back up top. And then again, you can keep going on the higher string. So now we're starting over again, but we're in this position down here. Usually I'm going to be fingering this now because I had to go back one with my middle finger. So now I've got the relative position one, which is note four C up to notes or a whole step, which would get me to four, five, six, which is relative position, which is a D, a six, which is a D, which is relative position two to our scale. Right. And then we're going to go. Okay. So then I'm going to go here. I'll keep on going here. We're going to go from here to here. And notice that this one, although it shifted, still only has the three notes on the string. And I'm still not stretching further than just the four frets. Okay. So even though this is five frets long total, there's no position within it that stretches more than four frets on the finger. And so it's pretty comfy. All right. So then we're going to go. So where was I was on a D, which is two. So then I'm going to go from the D down here. So, so once again, you would say the D is, we're going to go a, a whole step up to the three from the two to the three. But if I went up a whole step from the D position here, I would be outside of the range. So that would bring me out here. Why is that an illegal move? Because we started over over here and that would be, you know, three strings out. So I'm going to say, okay, instead of going out there, we're going to bring that E back inside and that's going to be in here. Now here's, we have that kink in the system down here because of the interval between these two strings. So now you've got, you know, that different, that different interval. So if I go one, two, three, four notes up and up one, then that's the interval we have here between these two strings because of that, that difference in the intervals right there, which is only a four string difference instead of a five string difference. So now we went to note number eight, which is an E. I don't think I said that exactly properly, but let's do it. Let's just keep rolling here. So then we're going to go then here. We don't want to be here all day. This was supposed to be a 15 minute exercise we do in the mornings. Been doing this for hours already. I don't even, so this is going to be a relative position. Three, which is note eight on E. And we're then going to go up to relative position four, which is a half step here. So we're going eight up one note to note number nine. And note number nine is going to be on F, right? And then we're going to go, okay, we're going from here to here. So now I'm going, okay, relative position nine. This is relative position four, which is a nine note nine or F up to relative position five is going to be a whole step. So we're going to go from note nine up to notes nine, 10, 11. And so, and then note number 11 is a G, right? And then I'm on that one. So let's keep it rolling. We're almost there. And then instead of going from G up to A out here, that's going to be outside of our range again, of course, that's a whole step difference. So we're going classic pinky to pointer position this time back to the basics pinky to pointer. So we're going boom, boom here, here, out like that. And this one's over here. So now we're going relative position five, which is note number 11 G up to relative position six. Is going to be a whole step. So we go 11, which plus two 11, 12, one, because we went around the horn to 12 and then back to one. And note number one is an A, right? And then I'm going to go from here to here. So now we're on relative position to do to do to do to do to do now we're on relative position six to seven. Relative position six is note number one or an A to relative position seven, which is a a whole step or two notes. So we go from one plus two to note three note number three is a B. And then finally, I can go from note number three back to note number one, or you can call it note number eight if you want. So we're going to go from here to here, and then it goes back to the to the one. And, and so now we're going to go it's going to go from note from relative position seven, which is note number three, plus one, because it's one interval takes us from three note three, which is a B to note four, which is a C. Wow, that was tedious, right? But if you do that a few times, maybe you can only do that through like half, like going from here to here. And that's going to be a lot if you if you do that and then do it on the bottom go from here to here just 15 minutes in the morning. And that'll kind of start to solidify these intervals and and it'll help you to memorize the numbering system if you want to do that and the fingering position. And then, of course, it would be great if we could go backwards, which we probably don't have time for, but I'll see what I can do here. I should do a whole another presentation to go backwards. But if we went backwards, we're going to say now we're starting on, you might want to call that an eight now, right? You might want to say, okay, that's the end, which I don't want to think of as a one, but I still want to start there. So I might say that's going to be relative position eight, which is equivalent to relative position one of the C major, which is note number four or SC. And then I'm going to go back from relative position one or eight back to relative position seven, which I know is a half step. So that's going to be a half step back. So now I'm going, I'm emphasizing this one to go back up to the three. So I'm going to go, that's four minus one, which is going to be three and three is a B, right? And then if I go back up this way, we can go, okay, now we're going the other way. Here we go again. So now I'm emphasizing this one. And now we're going from the C to here. And now we're going from that B to here. So now we're going from relative position seven to relative position six, which is going from note seven, which is a three or a B. Down two notes because it's a whole step down, three minus two is one and note number one is an A. So now we're down to the A, right? And then we're going to go, okay. And now I'm on the A and I'm going to go here up to the next one. And say, okay. And then the next one is going to be going to the G. So now we're going to say we're on relative position six, which is an A down to relative position five, which is a whole step to go from six to five. And A is a one. So if I go down to, I have to go around the horn because there's only 12 notes. So I go down to 12 and down to 11. And so now I'm on note number 11. Note number 11 is a G. Now note, if I went back this way, you have the same kind of concept. If I was going backwards, I see how this is a G sharp. If I went one more back, I would be to a G. So we end up with that same interval, meaning the G would be back here. There's one, two, three, four, five, and then up one. So we end up with the same interval that we're working with of five note differences when we go down and then we kind of go back up. So now we're going from this one back to this one. So now we're on a G. So we're going to go and make this one smaller and then this one larger and then up to here. So now we're going from relative position five, which is note number 11 or a G down to note to start to relative position four, which is going to be a whole step. So we're going to say it's going to be G 11 minus two is nine, right? 11 minus two brings me back to nine. So this is note number nine, which is an F. And then we'll go back here and we'll say, okay, bring this up. This is going to be the whole and so now we're going from note number nine. Let's bring this one up. This is going to be relative position four, which is note number nine or an F down to relative position number three, which is going to be a half step going from a nine to an eight, nine to an eight, and note number eight is an E, right? And then we can go. Okay. So I see how this is working. This isn't, I'm starting to get faster at this. This is not, this is not difficult. So then we're going to say, okay. So now we're going to go down from note relative position number three is going to go is going to then go down relative number position number three, which is an eight or an E is going to go down a whole step to relative position number two. So if I go down a whole step from eight minus two, we get to a D. So there's going to be my D and I can see once again that if I went a whole step backwards, that would take me outside of my position. It would be an illegal position because why? Because now I've got, I would have four of these notes on one string and I would be expanding beyond beyond the four fret interval at a time. And so I can also see that if I went back two strings, you can see this is the D sharp that D would be right behind it. It's still got the same pattern one, two, three, four, and then up one, not exactly the same pattern. It's the different pattern because it's between these two strings, but it was the same pattern as when we went down, of course, because it's the same interval which is going back up. It's a four unit interval because of the difference between these two strings. So then we're on, we're on that one and then we're going to go back again and we're going to say now we're going to go from the six is going to be the long. This will be the short and then we're going to go to the C. So now we're going to go from relative position two, which is a D, down to relative position one, and that's going to be a whole step. And so six minus two gets us back to a four and note number four is a C. Now you could continue, we can continue, I'm going to stop here because I know this is getting very long and tedious, but we can continue on back down and whatever you can do, if you can only do that for like half of this. You know, just the first two strings and you start to really, really kind of do that in a rigorous way in your mind. Then again, you'll be solidifying little by little the names of the notes, the interval of the notes, the positions, the difference between the pentatonic, the majors, you'll be able to start to identify the half steps versus the whole steps and you'll start to be able to name what's the relative position of each of these. Now, I might look at this again because we could also do this the same idea with all of the modes, right? Because the modes, if I go to the right here, are just the same thing. So the next thing would go to the A minor, which is just a related mode. So I can just say, well, I'm just taking the six, making it number one. So I can look at the same pattern over here that we used, but then I would be starting on the six, which is going to be the A. So we can use these same notes to map out any of the other modes. And the next mode to do that with would be the minor mode, just starting on the A, and then just changing these relative positions here instead of calling it A1 of the C major. We would be starting on the one of the A minor scale, which has the same formula. It's just starting from a different point, right? And then that would be the A. And then we could do that for all of the modes. I won't do it for all of the modes, but you could do the same thing and say, I could just start on the D for D Dorian. And then say I'm going to start on the D and use the same scale to map out the scale, but I'm just changing the relative positions in my mind so I can then see what the one, two, three, four, and what not is. And again, you could do that for all of the modes. You may not want to do it for all of the modes to start off with, but it would be a useful exercise clearly for your major key mode, which is the C major, and then be able to visualize in your mind that all of these, the same structure, the same shape, can be used for all of the related modes to the C major, including the A minor. And because the A minor or the related minor, in this case the A minor, and because the A minor is so important, you might want to actually work it out within the A minor relative position so you can kind of learn these positions resorted for relative position one through seven in the minor mode. Okay, that was a lot to deal with, but I just want to try to get the record straight here, because as an accountant, I deal with a lot of handwritten records that aren't straight, even as a musician, we get all these records that people write them by hand with these, these tablatures and they're not straight and they're all crooked. And so what I like to do here is put that stuff into Excel so that we can get the record straight, right? Resulting the records that are really just like a pleasure and a delight for record connoisseurs to deal with, because like, now of course the records are straight, records are straight. Thank you for watching.