 Guitar and Excel, Interval and Modes, Compliment and Parallel Worksheet Part Number 3. Get ready and don't fret. Remember, the board's totally fretted already, so you need to be the calm one in the relationship. 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 started in a prior presentation. So if you want to build this from a blank worksheet, you may want to begin back there. However, if you do have access to this workbook, there's currently five tabs down below. The first two tabs being the end product, the final work, the final worksheet, the tabs with the numbers corresponding to the video presentations where we constructed that piece of the worksheet, the blue tab where we're going to continue working at this point, it's going to start out where the prior presentation ended. So last time what we did first was we mapped out the musical alphabet. We mapped it out in terms of A and then the sharps and flats being represented by a lowercase AB because I think that's just the easiest way to format it in our Excel worksheet. We also numbered these notes and then we combined the number and letter format. We then populated our fretboard remembering that we have the low E string on top because I think that's actually the easiest way for people to visualize the fretboard if you haven't been looking at tablature your entire life. And even if you have, I think it's probably the easiest way to envision the fretboard in my opinion unless I'm just weird. I'm a little dyslexic, maybe it's just me, but I swear that that's the ease. So now we're going to continue on with our worksheet from here and we're going to start to think about the interval relationship because the next thing we want to do is create another fretboard that has the intervals in it as opposed to the notes in it. So we have a nice comparison between the two. So this is going to be, I'm going to change the root or the starting point a little bit from the first presentation that I showed. This is going to be the key right here that's going to be able to change everything from this cell. So I'm going to say actually it's going to be this cell, but the header is going to be up top. This is going to be the start from the root. So this is the starting point that we're going to count from. Now when we think about a lot of these modes, remember everything is relative. It's like Einstein's law of relativity, right, except it's not that complicated. Home tab, font group, format painter, everything is relative is the point here. So that's going to be our start from point. And I'm going to say that we're going to start at a four and I'm first going to put the number, just the number of a four so that we can use math and then we'll combine the numbers and the letters in a second. So I'm going to change the format of this home tab, font group. I'm going to make this one green. There's the cell that is the key that will basically change our entire worksheet. And then I'm going to say this is going to go to five. So we're going to have to have a little formula here and you would think the formula would just be this is going to be equal to this plus one and you can because I'm just going to count up. I'm just going to count up to 12 and then try to repeat it. But there's a problem here that I don't want it to be going past 12. So when it goes past 12, I want it to basically start over at that point. And notice I'm starting here with a four instead of a one because we're going to be first looking at the key of C because that's usually the easiest key to look at because it doesn't have the sharps and flats. So this key could be changed to anything from, you know, one to 12 and it'll switch for us. So the next thing I need to do is make a little bit more complex formula. So let's use an if formula. This is going to be a logic test formula. We're going to say equals if brackets. We're going to say if this cell plus one, if that is less than 13, which means it goes up to 12 because it's less than 13, then we're going to say what do we want it to do? Then we want you to take this cell plus one. That's going to and then comma is what do you want us to do? If that's not true. Well, if it's not true, I still want you to take this cell plus one. But then I want you to subtract 12 because, for example, if the answer comes out to 13, then I would like it to subtract 12, which will get us to one. So that'll take us around in a circle of this formula, hopefully. So the next thing I need to do is put some absolute references in there, however, because it's going to be actually, wait a sec, do I need absolute references? No, I don't. That's going to be entered because this cell is going to be moving down. Everything's moving down. So that looks good. So let's copy it down and see if it works. And then I'll just copy that down. So now it's going to five, six, seven, eight, nine, 10, 11, 12. And then it started over at zero, which is not what I wanted to do. I wanted to start over at one. And I see what I did here. I put a 13 in there for some. I said 12, but then I put a 13 in there. Let's change that to 12 and then copy it down again. Okay. So now we've got five, six, seven, eight, nine, 10, 11, 12, one, two, three. So that looks good. And now I can change this cell right here. If I put it to an A, then that's just matching these numbers. If I put it to a two, which represents a B. Now it's starting at a relative different position, right? So this is just the musical alphabet starting at A. This is going to be the key that's going to say, I'm going to shift my circle to start on whatever I want to start on. And so now I can see it in terms of numbers, but I'd also, of course, like to see it in terms of letters and numbers. So I'm going to go into this cell over here and I'm going to say this is going to be the also I'll just say the same thing. Start from root. This is going to be the number start from root start from root, just the numbers. And this is going to be this is going to be the start from root number and letter, let's say, and then I'm going to format paint this over here. And so if I make this a little bit longer, you can see the long headers, which will which we will then shrink down by just putting that that up once we know what the headers are that by repetition. So then I'm going to say, okay, how can I make I want to make that into the number and the letter? What I'm going to do, well, this is everything from a a to to G sharp this way. So what I'd like to do is look up the number here. For example, there's the three, and I want you to return this three B. So I have the number and the letter. So the the tool to do that you might the newest tool to do that the latest and greatest tool is the X look up. So we're going to say this is going to be the X look up. And it gives you the look up value. So the value I want to look up is that three. And then the next argument comma next argument look up array. I want to look that up. I want to look it up in here. So I'm going to put my cursor here. I'm going to hold down control shift and then down arrow. And that takes me down to the bottom. And so instead of highlighting it, so that makes it a little bit faster. And I'm going to say, okay, comma, what's the return array? The return array that I want to have is going to be give me the what stuff that's in here. So find that three in this one and then give me that three B. So control shift down return array and then close it up. And then we'll have to do some absolute references. So I'm going to say enter. Did it work? Yes, it gave me a three B. That's what I want. Now I'm going to double click on this again. And I'm going to F four so that these arrays will be absolute references. So I'm going to select F four on the keyboard dollar sign before the letter and the number F four on this one dollar sign before the letter and the number dollar signs having nothing to do with. By the way, you might use arrays too, but I'm going to use the absolute references. And then over here, I don't want to get into those pros and cons with the anyways dollar signs F four F four. So those are all locked. And so we're going to say enter and then I'll copy that down. Boom. So now we have the letters and numbers and this key I'm going to make I'm going to make this really small now will then allow us to change to whatever we want. And then our starting point will basically change. So now we have that relative thing in there kind of like Einstein's relativity theory, you know, even though we're not like like scientists here, but, you know, we get to do the relativity thing in our music way. I'm going to put another long title in here, which I'm going to say I'm just going to paste it this time interval distance from the root. And then I'm going to just format paint that. So what I mean by that is this is now I'm thinking of my relative position starting point. That's where we're putting the ruler. So that means that if I'm measuring from there in half steps or just one note at a time, if I'm on C, I'm at zero on the ruler because that's where the ruler is starting. We're imagining so we're not any distance from itself. And then the next one up is going to be one and then two, right? So I'm just, I'm just going to be adding up. So that means that this D is two notes away from the starting point of C, the relative distance that we put up top. So these will just be hard coded numbers because it's always going to be the same. The thing that still changes here, right? If I change this to a three, it's still now the B is still zero steps from itself. And now we have a C sharp, which is now two steps away from that relative position of the B. So let's put it back to four as a C because that's the easiest thing to see. The C is the easiest thing to see. Not the easiest thing to say, but the easiest thing to see. So then we can, we can copy this up. So I could just copy this up and I'll just make it, we don't need any fancy formula really. If we copy it up to here, it's going to take us to there. Let's go one more up here. And then let's add, let's add one more row down here so we can see the octave. So the octave is going to repeat. So, so if I was to copy, if I was to bring this down to a one would be the next one. And if I copy this down, it'll then give us what did I do here? I'm just going to call this another A and then I can copy this down and that's a formula. And then this one, I can copy this down and that's a formula starting over at the four. And then if I copy this down, there's back to a C again. So we went the octave up, right? This is just the formula. And maybe these formulas, I should probably extend this all the way down now. Let's extend this all the way down. It shouldn't matter, but I'll extend it all the way down just to make it look nice. So then I'll copy this down. And so then the reason I did that whole thing is so I can bring this down one more and this will be back to the octave, which you can think of as basically the same zero interval. It should be back to a zero interval in essence. Okay, so that's going to be the intervals. They're going to be static. The measuring stick is here, right? This is our ruler that's always static. And then we're going to change the point that we measure it from, from a C to a G, for example, and so on. And the ruler is always the same. It's now that you're starting the measuring stick from a different place. Or you can think of the measuring stick more like one of those things that you use to measure someone's belly, right? Because it's a circle. So you're going to start at someone's belly button and then measure the belly and then you're going to start at the side of their hip or something like that, you know, to measure it. But in any case, we'll have that. And then, so that's going to be that. And then I want to have the intervals, letters, and numbers. So we're going to say, dude. So those are the intervals in common and the easiest way to understand them. So I'm going to format paint this. This is the interval distance, number, and name or abbreviation that we'll basically put here. Now before we get here, I want to, I want to first put the names of the intervals. So I'm actually going to put another column over here and I'm going to call this the interval name. So this is going to be, and I'll make this one a little bit longer for the interval name because we're going to have longer names. Home tab, format paint. And I'll put that here. Okay, so now let's just name these intervals. So if you were at then zero, we're going to call that unison. So if you played two C's at the same time, we'd call that unison. The distance between the two is zero. And remember, you have to kind of know these in order to communicate with other people. Again, you could just say, well, it's zero distance away. I know that, that's what it is. But no, if you're going to talk to someone, you have to say these intervals are going to be used. So that's why it's going to be important to know the lingo of what's going on here. The next one, if it's one note away, in this case from the C, we're going to call that a minor second. Now, the minor second is kind of weird because you would think that, like if you look at the minor scale, the second note in the minor scale is still a whole step away. So that's not really how this is being measured. What's really happening, it seems to me, is they've kind of looked at everything from the major scale, which is seven notes. So they kind of looked at everything from the major scale and measured the intervals based on the major scale. So you have to realize that when you see the minor second, that doesn't mean that that's the second note in the minor scale. It's just one note down from the major scale. So the next one is, in other words, going to be the major second. Now you probably haven't dealt with the major second as much because you probably heard these terms with relation to chord constructions, and we usually skip every other note. So if I was going to make a chord, we'd start on the one or the unison, the C. We don't usually call it a unison. When you have the chord construction, we would call it the one or the root, and then the three, right? So we'd skip one note in the major scale, and when we skip one note in the major or any of the scales, the minor scale too, but when we skip a note in the major scale, we end up on what we call the three, so the one, three, five. Now the three on the major scale is actually four notes away. So on the minor scale, so this is going to be the three, we'll have the minor third. So you've probably heard the minor third is a more common interval that you might have heard, and then the major third. So what that means is, again, if you think about how they constructed this, I imagine what happened is they're looking at the C major scale as their key to make all the modes. Now remember, all the modes are relative. It's like Einstein's theory of relativity. You could derive any of them, as far as I can tell, from any of the modes. They're all connected, kind of like one of those fractal paintings. But it looks to me like, in Western music, everything was built from the major scale and more specifically from the C major scale. So they said this is the major third, not because it's most important or anything, but because it's part of the major scale. And then the one behind it is the minor third. Now in this case, the minor third happens to be the correct interval in the minor scale. It is the minor third, whereas when we saw the minor second, that's not actually the interval in the minor scale, it's just one under the major. So again, you just kind of have to memorize where the actual distances are, which I don't think a lot of people, a lot of people may not really realize that it's four notes away to get to the major and three notes to the minor. They just know that the minor is a half step below the major in relative positions on the guitar. And then we have the perfect fourth. Again, it looks confusing here because now we have five notes away. This note, this nine, is five notes away, one, two, three, four, five, from the starting point, the four, but we call it a perfect fourth. Why? Because these terms, the two, three, and four are kind of tying into the scales, and primarily thinking about basically the major scale. So we're looking at the position in relation to the scale, which we will see once we construct the scales. Maybe we should have done that first, but we'll see that in a second. So that does give us some piece of information, and we'll see that in a second. But it would also be useful to know how many total distances away it is, which is five, which is being left out from the name of the interval. So that's what you kind of want to know. You want to be able to say, I would actually say it. It's a five note away, perfect fourth. It's apparently, this is somewhat arbitrary because they thought that some intervals had a certain quality toward to them, and therefore instead of calling it a major fourth, which you would think would be consistent with the major, with the naming system of naming the notes in the major scale, they called it a perfect fourth. So there's some kind of arbitrariness in that. So you just got to learn that. That's the interval for the fourth. It's five notes away, though, even though it says a fourth. And then we have the diminished fifth. So the diminished fifth is going to be actually six notes away. So now we have the diminished fifth, and the way you understand a diminished fifth is to look at the next one up, which is going to be, so let's do that first, which is the perfect fifth. So now we have the perfect fifth here. So we have the perfect fifth, again, confusing, because it's seven notes away. It's the fifth note, if you think about like a major scale, for example, so that gives us meaning, this five gives us meaning, but it's also confusing because you would think it would be, it's actually seven notes away. So I would actually say that when you say it's a perfect fifth. It's a seven note away from the starting point that you're focused on, which is, in this case, the key of C, perfect fifth. Now, why is it called perfect again? That's somewhat arbitrary that it's a perfect, that it's a perfect fifth because of the quality, historical quality of the music. And what is that? And now we have the sixth. So notice the sixth, then, you would think would be a minor sixth, but that's not what happened, possibly in part because of the way they named the perfect fifth right here. So instead, we call the sixth is going to be a diminished fifth. Okay, so what does a diminished fifth mean? Well, the fifth right here is seven notes away. So whenever I say something is diminished, that just means, that'd be like saying you're flattening it. You might also hear it called a flat fifth. So all we're saying is we're taking that interval that's seven away and we're subtracting a half step for it. And usually we don't say, you might not need to say diminished in most of the intervals because they have their own name. So we don't need to say it's a fifth that has been taken back a step. Although you could do that to any of the intervals, that's a legal thing to do, although possibly not the clearest way to name an interval in most cases. But in this case, we have to do that so you have the diminished fifth. Okay, so then we've got eight notes away is going to be the minor sixth. So remember, it's the minor sixth mainly because if I look at the next one up, nine notes away, that's the major sixth. So now we're back to the major and the minor because they didn't want to do the perfect thing here because of the quality of the tone or whatever historically. So this is coming from the major scale, the sixth note in the major scale, but it's actually nine notes away. So you might want to say this is a nine note away major sixth. And then the note below it, instead of calling it a diminished sixth, which you could do, you could call it that, or a flatted sixth, is generally going to be called a minor sixth, right? That's going to be the most common term for that one. And then you've got the minor seventh, same thing going on here because you would think we started with the major seventh, which is 11 notes away. So again, you'd want to call it, if the seven represents its position in the seven note major scale, but it's 11 notes away from the root of the major scale when you're measuring it from the 12 notes in the scale, and then instead of calling it a diminished seventh, you're going to call it the minor seventh. And then the reason I wanted to add that 12 here is because you can call that 12 again unison, or you can say it's an octave. It's the eight, it went up, again at unison, or back to the octave. All right, so then we're going to need, that's the intervals that we have. So I also want to have the symbols. So this is good, because that's too long. So symbol, interval symbols, interval symbols. Hopefully I spelled symbols right. I don't know. My spelling is not great. So how can I represent these intervals without having to type this out? Okay, so here's common symbols that we have. The unison, we might call also a perfect first, which would be P, hold on a sec. So yeah, P1. And then the minors will often represent with a small m. So that's going to be the minor second, lower case m, and then the two, major second then capital M, M2. And then we've got the minor third, which is going to be M3. And then we've got the major third, which is going to be M4. We've got the perfect fourth, which is P5. We've got the diminished fifth, which I'm going to just call lower D5. And let's bring this out a little bit. And then we've got the perfect fifth, which we'll call P5. We've got the minor sixth, which we'll call M6. We've got the major sixth, capital M6, the major minor seventh, the major seventh, and the octave, which you could call perfect eight or P1. Right, because now it's just going to be the same thing. So what I'd like to do then is when I populate this in my worksheet over here, what I'd like to do is combine. I want to combine this symbol as well as the actual distance because this symbol gives me one, it gives me the name that I can communicate to other people that is most common. Two, it gives me the relative position of a scale generally being based off of the major scale with this numbering system on the right. And then three, I would also like the absolute distance from the starting point, which is going to be measured by these numbers over here. So I want to combine the symbol and this, or this and the symbol. So how can I do that? It's a pretty easy formula. We can say this is going to be equal to this, and then I'm just going to put and, and then I also want to put, well I could just say and and then this, and that sticks them together, which is pretty easy to see right there, but I think it might be a little bit easier at first. I kind of like that because then it's as small, as squished up as it can be, but I think for most people to see it, that if you're not used to that symbol, it would be nice to have a little dash in between. So I'm going to double click on it. I want to put a text of a dash. So after this and I, in order to put a text in Excel, I have to do quotes and then the text, which is a dash and then end the quotes. Now I can't stop it there because I need another and to tie in this text field. So I need another and the and is an Excel code, basically that's just tying in this piece of text or this thing that's in that cell plus and it's like a knot. I think of it like a knot and then take this text and then and tie it into this one. Boom. And then we can copy that down. And so now we've got the nice symbol and and the distance. So that is good. So then we also might have just to note like alternative names here that you might hear depending on certain and certain times you might just like, just like we have this issue with the number and system over here where again, it looked like they started with a C major scale, right, seven notes. And then they added in the sharps and flats, which ended up with this interesting kind of which gives us some benefits system of having these sharps and flats that mean that we can actually spell out different things with different in different ways by using the sharps and flats differently, right. So and that could be useful depending on how you're spelling certain things out. Well, you have a similar thing over here with the intervals, right. So I'm going to you could have a situation where it might be useful to call it use your terms of diminished and augmented and whatnot. So I'm just going to say like this first one here, you could call this a diminished second, right, because you would think that if I called it a diminished second, you would think that you would be starting from this second right here, which is the minor second because you're because otherwise you would call it a minor second. And if you diminish the minor second, that would bring you back to the unison. Now, why would you want to do that? Normally you wouldn't because you're going to confuse people, but technically you could possibly there are musical situations where it makes sense to say that you're going to you're going to start saying, well, I'm going to start at whatever point I am at and I'm going to diminish it. You might even hear double diminished. All that means is I flattened it twice. I started at one thing and I flattened it twice. So if I copy these down just to just to know that you could say, okay, well, it's an augmented first, meaning now I had the first and I pushed it up one, right? And then you could have a diminished third. So diminished third means you took the third and you brought back one. So these terms of, and I'll just copy and paste them down here just to note that when these terms, again, they're really kind of fancy sounding terms that are diminished and augmented as if like you could have just said up and down, right? I mean, like you're going up or down on it. So that's diminished or augmented or basically flattened or sharp is another term that you can use for that. So you don't need to, so you don't really need to be afraid of these terms because they're really just mean you're going to take whatever you were on and increase it or decrease it or take it up or down a step. But to be as clear as possible, you'd probably want to be using the terms of the intervals that people know the most as a general rule just like when you use your sharps and flats, we have general rules that we don't like to have two As next to each other. That's why we use the sharps and flats. So if there's an A sharp, maybe we would call it a B flat. So we don't have the two next to each other, but sometimes it might make sense for us to spell it out differently with two As depending on how we got there or why we did it, right? So in any case, but that's the general, that's probably beyond my scope of understanding in any case. So I will not go into that in too much more detail here. Home tab, font group, and there's that. All right. So now we've got this mapped out. So let's stop here and then we'll continue making our our scale worksheet and then we'll make another fretboard eventually over here based on that information with the interval intervals in it.