 Guitar and Excel spreadsheet creation mapping the path to fretboard enlightenment part number seven Get ready and don't fret or get bored because using Excel to learn the fretboard is exciting Here we are in Excel if you don't have access to this workbook That's okay because we basically built this from a blank worksheet, but we started in a prior presentation So if you're starting with a blank worksheet, you may want to begin back there However, if you do have access to this workbook We got multiple tabs down below Including the example tab, which is the end result the finished product the answer key if you will Multiple starting point tabs which represent the starting points that line up to the different sections of video presentations as we work through the long practice problem and the blank tab where we started with a blank worksheet and Are continuing with the project at this point in time quick recap of what we have done thus far We started out thinking about the musical alphabet in letters a a sharp b c c sharp d D sharp e f f sharp g and then it starts and then g sharp and then it starts over again It's difficult to actually say the musical alphabet like with the music Alphabet song that we're all used to because the sharps and flats Messed it up, but note that you can number those by saying a is one a sharp is two b is three C is four c sharp 5d is six and so on and then it's really easy to say one two three four five six seven eight nine Ten eleven twelve twelve eleven ten nine eight seven six five four three two one Therefore we are making the argument that it's useful both for excel as for your own Memorization and progression with guitar or whatever theory you're looking at to assign a number To each of the notes which we're going to call an absolute number as opposed to relative Numbers that will then talk about we have to keep those separate in our mind. There's no getting around it It's going to get confusing no matter what so we're then going to combine those together so now we've got the number absolute number and Absolute letter Representing a note and then we took the relative numbers according to a scale using this is our keynote This is a four Representing a C so the C is usually the first scale people learn because it doesn't have any sharps and flats in it So we'll use that for if we name the four we use our pattern of whole whole half whole whole half Which in terms of numbers is two notes two notes one note two note two note two note and One note and we use that to build our C major Scale so we start with a C two notes away We go to a D two notes away to an E two notes away to an F to a G To an A to a B which happened to all have no sharps and flats Why because we use in the C scale if we change this of course to some other scale like Like I don't know a B Scale then we're gonna have a whole lot of sharps and flats that we have to deal with over here But from a number perspective, it's quite straightforward, right if I say oh 12 that's a G sharp That's a scary thing, but it's just a 12 It's just another note that happens to be a sharp or a flat given the nature of how we constructed the alphabet But we'll go back to a four because it has no sharps and flats and that's usually the starting point That we we use to build things and then we built our little worksheet over here Which helps us to then populate the the notes in our scale And it gives us then whether or not we're gonna have a major or minor chord that we build Off of each of these notes in the scale. So the first note in the scale is a C. I would call that Relative position one relative position one relative note one because it's not absolute note one We're not talking about an a note in other words. We're talking about a Relative position one of the C major scale, which is a C, right relative position two of the scale is a Absolute note of a D or six right at six or D absolute note six relative position two of The C major scale relative position three relative note three of the C major scale Is a note absolute note eight Unchanging note eight or an E relative position four is Note nine or F relative position five of the C major scale is note 11 or G relative position six of the C major scale is Note one or a and seven note three or B. It also tells us whether or not we're gonna build a major or minor Chord around it, which are generally thought of as the first three notes and So the the the lower case Letters show us that it's gonna be minor uppercase major and we can define that looking at the three here the three Interval tells us whether it's minor or major because the other two notes would be the same whether it be major or minor And so this interval represents the interval of the first Chord which is a major the third is for absolute notes away for my eight minus four is four the minors you could see Nine minus six or six to nine six seven eight nine is three notes away That's why it's a minor and so that gives this this little worksheet gives us a lot of information Now sometimes it's easier to see this if you represent things in a circle This is not going to be the circle of fifths, which is another really useful tool This is just gonna say I'm gonna put these notes in a circle And that will give me a different perspective on what is actually happening here when we populate this so to do that I'm gonna make a bunch of skinnies I'm gonna make these skinny from tea And I'm gonna go on over to BB over here tea to BB And then I'm gonna put my cursor in the cell and make them skinny All right, so they're skinny and now I'm going to start now This gets a little tricky because I'm gonna try to make a circle in Excel, which is not natural for Excel Excel is not a circular Creation tool usually But I'm gonna start here. This is gonna be the one we're gonna put at the top I'm gonna say this equals to the Greek letter of the one and Maybe I can center that I'll say let's center it and put some borders around it And then that is gonna be equal to the note and I'm gonna say the note is going to be the C here So that's That's our first note. Let's make this. I'll make it like a different. I'll make it like black white and Centered alright, that'll be the formatting of it and then I'm gonna go down Let's see down to like around here and this is let's do the here. This is gonna be the two Which is gonna be a minor? Number Greek number and that means it's gonna be the minor So we'll build a minor chord around it and I'm gonna say this is gonna be equal to the D or 6 or D And I'll copy my formatting home tab clipboard format painter here and then here clipboard Format painter there. So then I'm gonna say the next one. Let's put it down here. Let's put let's do this one first this is gonna be the the Greek 3 and This is gonna be the related Note which is an E there Let's copy the formatting up top home tab format painter and put that here and then we'll go boom boom right there Let's say this is gonna be equal to the four and Then we'll say the relative Note is an F Actually, let's put the relative note above it this time on top And so I'm gonna say the relative note is this F sharp and then let's copy this formatting Here and then I'll copy this formatting there and then over here. We've got the five and then up top or we're gonna put the relative note and Then I'll copy this format home tab clipboard format painter There and then we're gonna be on this side. We'll say this is gonna be equal to the Six and equal to the note Which is going to be 1a and then I'm gonna say let's copy the formatting of this one here and copy the formatting of this one there and then this is gonna be equal to The seven We're gonna say that will be the B Okay, so there it is and now I can copy these two and Format paint that here now. Why is this useful? Let's take it if you if you look at it this way You can kind of get an idea of how we're building our table on this side So in other words, you'll recall that what we did to build this table is we basically Repeated our scale multiple times So here's our scale C to C and then here it repeats again C to C and then C to C And then we just picked whatever note that we're on and counted up every other note to build the possible Chords that we might create so we've started if we start on a C We said two notes up is any two notes up on the scale is a G Notice, I'm looking at the scale not at the whole musical alphabet two notes up is a it's not really two notes up It's two relative notes up in the scale not on the whole musical alphabet But two notes up in the scale two notes up in the scale and then if I start on a D Then I do the same thing I just take that and go two notes up is the F two notes up is the a two notes up is the C See how we now to do that You kind of have to see it liner linearly, but it's repeating you can imagine a piano that just keeps on going Indefinitely, although the octaves will change so although the octaves are changing when we talk about What creates a chord you can have things and totally different octaves It might sound a little weird, but you can have things that the octaves are totally different And it would still technically be a C for example if you had a C E and G in it Whatever combination of C E and G you have even if the octaves are all way different in range You'd still call it a C right so you can also it's kind of easier to see though if you construct it this way You could say okay. Here's the C if I just go around the circle if that's my route Then I skip this note and I go to the E and that's what this one is right And then if I if I the next one if I build my chord I skip the next one and I go to this one right and then if I build my cord I skip the next one and I go to this one and then I go to the next one I skip this one go to this one notice what happens with the nine You actually already went around the loop and you're kind of starting over again So notice what's happening is you're kind of picking up the ones you didn't pick up before and Basically, you're still gonna end up picking up all the notes in the same the scale basically do you see what's happening because These are the notes in the scale and they're all legitimate notes to play basically and when we build a a When we build a a chord around it We usually don't want them too close together. They're already spaced out because if they're too close we get dissonance So we space them out. That's why we take every other note. So we're just gonna say all right one reason That's why every other note But if I keep doing that then if I get to here and I go every other note again now I've skipped the one and I'm now I'm over here I'm picking up the one that I skipped last time and it's now the nine. Why is it the nine? It's because we're just going around the circle and we went all the way around and now we're going around again Right, so now it was here's the one. Here's the three where we skip To here here's the five that we skipped to here and here's the seven We skipped to here and then here's the nine We skipped over here and we ended up on the two chord in In the scale the one that we skipped last time right and then if I go to the 11 we end up On the on the nine Which we skipped last time and then the 13th so you could see that we're basically here's all the notes in the scale C D E F G A B and we're picking up C E G B D F a right. It's just that we're when we build the scale we we we go every other every other note All right If we did the same thing with a D all that's happening is we're starting here now and we're taking every other note So then if I go to this one that's going to be represented here We skip a note if I go to this one then we went from here Skipping a note to here and then if we do this one we started We started At what did I start here and we skip the note to here and then if I go to this one We started here and we skip the note to here and then if I start here We go to here right we skip the note and then if I do the same thing all the way around if we're on an E Then we start here and then we're going to skip a note To go to G and so on Now if you look at the intervals between these remember that The the intervals will be different right and that's why we get this. So if I if I go back to my interval concept The the the interval between This one and this one even though i'm skipping every other note is going to be different. So if I look at my C We said the interval is actually four absolute notes away Meaning eight minus four is four absolute notes away but if I look at the difference between D and uh The the D and F. I'm still just skipping a note Right so we can call that a third But this time the distance is uh six to nine nine minus six six seven eight nine is three That's why it's a minor so that so we can define it in terms of absolute intervals Which we often do which are easier to see if you look at the numbers And we can also kind of just understand it from a position perspective as This is a major and this is a minor and you can just memorize the positions on your fretboard Of what the shape of a major and minor look like but it's quite useful to also be able to To number it because then you can you can easily find what you're looking for on the fretboard So so this gives you a nice visualization of How we create how we're creating This item and instead of having A linear progression that you're kind of thinking of In theory as though it goes on to infinity like this It keeps on like a keyboard that goes on to infinity and we can just repeat that circle We can think of it as a never-ending infinite circle because it's going around this way We're not looking at octaves. We're just having an infinite circle And we can just keep going around the circle as we create our Our notes that are going to be in Each of the chords now once we have that I can copy that same concept up top So i'm now i'm going to copy from here To here And then i'm going to say control c and i'm just going to copy that same Format up top and it picks up all the relative notes because all of this is geometrical Geometrically the same so I can see it in terms of just numbers If I want to for representing a c and so on and then if I wanted to look at other Other keys like a b The key of b is quite is often confusing to people because you have so many sharps and flats in it But there's nothing really theoretically different from it when you look at it in terms of numbers, right? Because if you look at it in terms of numbers Then you have this it's just another it's there's nothing special or different about it The intervals are the same If you look at it in terms of letters Wow, this looks this looks intimidating because of all the sharps and flats I've got to know well, what is do I call it a sharp or do I call it a flat blah blah? Is it how do I how do I Name this thing that i'm playing and if I look over here it looks intimidating But if I again if you looked at it just in terms of if you just numbered it Then it it shouldn't be inherently Intimidating I think the reason it's intimidating it was it is to me still is because The is because we learned because they made the musical alphabet With the c major in mind and then they plugged in these other notes Right that that now are sharps and flats depending on what you're going to call them Which has its uses again and there's that's not like That's a totally bad thing to do because of the different ways you can spell different notes is kind of neat and and useful But it also leads people to think like not play a Key of b because of all the sharps and flats and to try to explain what is happening gets a little bit Difficult so but but again if you learn the numbers it shouldn't be because it should be just as clean You know as anything else if you think about the notes in terms of just numbering them from 1 to 12