Hello and welcome to the uplink daily. I'm your host Imanuela Orsini joining you from the Sustainable Development Impact Summit here at the World Economic Forum headquarters in Geneva. When we talk about climate action we know that young people are at the forefront of this movement. This new generation of change makers from all over the world are calling for an end to all new coal, oil and gas explorations and developments in order to limit global warming to 1.5 degrees Celsius and avoid the most devastating effects of climate change. To contribute to this fight, uplink in partnership with the Global Sheepers Community and the Climate Reality Project is delighted to announce the launch of the Youth Climate Action Challenge, a global call for innovative solutions led by young people that give us the best possible chance to avoid catastrophic levels of global warming. We're going to speak to experts who can tell us a little more about the challenge and the kind of solutions they want to hear about. But before then, let's watch this short video. Joining me now in the studio to talk more about the Youth Climate Action Challenge is Wadia Ait-Hamza, head of the Global Shapers Community at the World Economic Forum. Welcome Wadia. Thank you. Now tell us a bit more about the Global Shapers Community. Who are they? The Global Shapers Community is a network of young people in their 20s working together to address local, national and global challenges. The community was created back in 2011 with the mission to empower young people. In each city, a group of Global Shapers come together to launch projects and today we are proud to have more than 450 hubs around the world with more than 14,000 members and alumni. Oh, that's huge. And now why are you launching this challenge? Basically because protecting the nature and climate change is one of the main priorities for young people. During the Global Shapers Survey, young people have been clear that protecting nature is priority number one. During the Davos lab, Global Shapers came again together to address the needs of policymaking in protecting the nature. And with this challenge, we are looking for innovative ideas so that we can come together and solve this big problem. Now what kind of solutions are you looking for? We are basically looking for solutions in green cities, in civic engagement, in climate justice, in circular economy, in order to protect our nature. So you need to be under 30 years old, submit your solution either from a startup or individuals. And we're looking for 15 to 20 solutions that will be put in a cohort of Global Shapers where they will be scaled through mentorship and through also the help of our partner, Climate Reality Project, who are supporting the Global Shapers in dealing with this topic. Okay, well thank you so much for being here today, Wadia. Thank you for having me. Now let's speak with two Global Shapers from the Boulder Hub, Risalat Khan, and from the Beijing Hub, Lucy Tong. A big welcome to the both of you. Now, Risalat, let's start with you. The Davos Lab Youth Recovery Plan told us a lot about the climate action that young people are demanding from governments, financial institutions, and all of society. Can you share the insights and recommendations with us? Just to share how the Davos Lab project started. It started in the aftermath of the pandemic when we saw governments mobilizing trillions of dollars to meet the urgent crisis facing us. But one thing became clear. This response to the pandemic could either accelerate action on the climate emergency or it could lock in fossil fuel projects that make our climate goals out of reach and bring catastrophic impacts on communities across the world. So that's why the Davos Lab Youth Recovery Plan started. And what we found is that there is a huge base of support all over the world in all of the surveys and insights that were collected through dialogues that happened in hundreds of communities across the world. For example, 82% of people that were asked said that governments should make accelerating climate action a key goal of the economic recovery. And across the board, we saw this again and again. Now, what came out in these insights as well as through the painstaking work of global shapers from around the world who were working to put together this recovery plan is that people really expect, particularly young people, expect powerful countries, economies of the G7, G20, and so on to rapidly shift away from fossil fuels and towards renewable energy, invest in energy efficiency, ecosystem restoration, sustainable agriculture practices, innovation to unlock the next generation of technologies that will take us to net zero by 2050, which is what the science demands. But even more urgently, this is the decisive decade of action. Scientists have said in the IPCC, the Intergovernmental Panel of Climate Change, that this decade we need to cut emissions in half. That is an extraordinary scale and speed of transition that must be led at all sectors through government policy, through financial institutions, stopping investing in fossil fuels and unlocking renewable technologies, as well as business playing its part in really making sure that they're cutting emissions in line with the science of 1.5 degrees, because anything beyond that will be too much for communities to bear. So there is a real moment of accountability here where young people can continue to challenge and agitate for action that is in line with the science, that is in line with the best interests of children and young people and future generations, but also everyone. We have seen that no one is immune to the summer of hell, like we are seeing wildfires and floods and hurricanes, devastate communities everywhere. And even those who thought they might get away with not facing some of the impacts of climate change are now facing it at their doorstep. So right now it's a moment for a call to action for everyone. And young people have a particular role to play there because ultimately it is young people that will face the worst of these consequences over their lifetimes. So I think young people are already involved and they will continue to be. And I hope that through this initiative more people will come on board and really make this decisive decade the transformational moment that it could be for humanity and all of life on earth. Thank you, Risalat, for your insight. Now, Lucy, this challenge is out to set the record straight. Young people are not only demanding climate action, but are leading desperately needed solutions to climate change. What is the call to action? And what kind of solutions does this challenge call for? Who should apply? So the hard line eligibility is actually quite simple. It's anybody within the age of 30 by December 1st, 2021. And they may be founders working in a startup. They may be working for a corporate or they might be a student. We're looking for solutions in one of the five focus areas. So there are civic engagement, climate justice, green cities, nature, and circular economy. A total of 10 to 20 submissions will be selected through the application process and they will be met through a six month program facilitated by the global shepherd community and also the climate reality which are the co-organizers of this entire initiative. And you will get, you know, thank this resources like targeted support, your networking and mentorship opportunities.  Thank you, Risa Lat and Lucy for joining me here today. Now our last guest today is Jill Linus from the Climate Reality Project, a longstanding partner of the global shapers community. And one of the partners helping us to run the Youth Climate Action Challenge. Welcome Jill. Thank you for having me. Now what role is climate reality playing to support youth mobilization? We educate youth through our trainings and our events. For example, at our climate reality leadership core trainings, we often have youth led sessions and also spaces for youth to network and in person, even gather to talk with one another. In the United States, we also have been doing a training series through our inconvenient youth initiative where we hosted a series of webinars, to train youth on civic engagement, environmental justice and activism. And our branch offices internationally are also engaging youth. The Climate Reality Latin America Branch is training young people across the continent how to engage with the United Nations Framework Convention on Climate Change Process and is even bringing a cohort of young people to COP26 as part of their country's delegations. In Indonesia, our climate reality branch there has trained thousands of young people on the climate crisis through their youth leadership camp on climate change. So we're really excited for this uplink challenge, which is kind of going to be that next step for us when it comes to youth engagement. And a great way to kind of bring all these different things that we do together in one global challenge. Why should young people apply to this challenge? And what do you hope this challenge can achieve? Applying for this challenge is a great opportunity to get exposure and then also to meet other young innovators like yourselves. I think one of the hardest things when you're a young person and you're working in the climate space or the innovator space is you often end up a bit siloed. You're often in rooms with a lot of people that are older than you or working in a different space than you. And through this challenge, you're really going to have the opportunity to end up in a room with other like-minded people, other young people who are also working towards a common goal of solving the climate crisis. Thanks for joining us here today, Jill. The Youth Climate Action Challenge on uplink is now open and you can submit your solutions for this challenge on the uplink platform. And if finding solutions to climate change is a topic that is close to your heart, join us again for more sessions tomorrow from the Sustainable Development Impact Summit, where the key theme of the day is climate action. Thanks for tuning in and we'll see you next time.


dedicated to the strength of the nation proudly we hail proudly we hail starring Rod Cameron in roundup in Madison Square the United States Army and United States Air Force presentation and now here is our producer the well-known Hollywood showman CP McGregor thank you thank you and greetings from Hollywood ladies and gentlemen welcome to your theater of stars where each week the brightest names for motion pictures join us for your entertainment our star is Rod Cameron the title of our story roundup in Madison Square Rod as he does on the screen portrays a dashing cowboy the feature of the annual Madison Square rodeo his rodeo exploits however are second to his role of Romeo when he meets and conquers the fair heart of Westchester's most sought-after deb act one of roundup in Madison Square in a moment but first this message from Wendell Niles the men of the United States Army and the United States Air Force have a job to do for themselves and for you that job is preserving the peace the mission these young men have before them is accomplishing the security of our country and securing the peace of the world there will be great satisfaction for them and for you when it can be said that they have done that job when the time honored words mission accomplished can be spoken at last under all circumstances we must give them the support they deserve now once again our producer it's curtain time and his act one of roundup in Madison Square starring Rod Cameron as Jeff Holt Manhattan that great teaming metropolis of skyscrapers and subways of pitchmen in the Bronx and shops on Park Avenue Manhattan big enough to include Wyoming Colorado New Mexico yes and even Texas big enough to hold them all at the annual roundup in Madison Square ring senator Sylvia Manners lovely young socialite and her party of Westchester witness this kaleidoscope of cowboys and critters wealthy miss Manners who has purchased a cattle ranch but it was never been closer to it than the Madison Square rodeo is entranced by the spectacle before her but a chap sitting next to her seems rather bored by it all oh Sylvia what possible kick to get out of watching this bunch of rough necks parade around like something out of a 1920 movie oh Reggie how you talk I think it's after all it's the old west sure it's the old west so all that has got mildew on it bunch of fake he-man all dressed up in leather panty waist and purple silk shirts that guy down there looks like a Valentine going someplace to be delivered he does not read you and would you look at him ride it's beautiful do you know what ready I've got an idea a wonderful idea oh here we go again what is it let's invite what's his name what's whose name the rider down there oh yes here it is on the program Jeff hold invite him for what to take his horse out of your place to plow up the garden well of course not silly let's invite him out tonight after the show it might be fun having a cowboy in our party you're not serious are you I most certainly am give me a pencil and I'll send a note to his dressing room the mean dressing room those guys don't dress they were born that way a pencil Reggie oh here thank you what makes you think he'll accept your invitation he'll come but you don't know these strong silent men of the west you don't think so oh Jimmy yes miss manners see that this note's delivered to Jeff holds dressing room will you please yes miss manners and wait with the car and pick him up he's coming out for the you hope and while his plot was brewing up in the special boxes Jeff Holt and his horse Sagmore finished their exhibition rode through the exit to the fanfare of the band and the sweeping applause of the crowds after dismounting and giving a couple of lumps of sugar to his horse Jeff went to his dressing room to join his trainer and pal of the west Curly Peabody hey Curly wake up oh it's you some of these days you're gonna go to sleep and wake up and find yourself dead by jinx I want to sleep Jeff I was just sitting here a speckling well you sure do make a lot of noise when you speculate oh Jeff what somebody knocked on the door and left you this here Billy do Billy do sure I can tell it's a Billy do on the counter it smells like violets well open it up and read it I did open it up Jeff but I can't read it why not well because I can't read here let's see it sure uh mr. Jeff Holt well well what's it say Jeff will you give me the honor of being my guest tonight at Westchester manners please say you will I have arranged for someone to call for you I'm counting on you sincerely yours silvia manners great jumping parry dogs that there sounds like it was written by a gal that's right Curly yet the nail right smack on the head put these guns away will you yeah sure Jeff but what you can do about it you ain't aiming to just plum ignore it are you I ain't aiming to do nothing else oh now Jeff you can't do that away a pretty girl sends here Billy do in love and true affection well I'd be right down plum in polite aren't you forgetting Curly we're writers not society dudes yeah but Jeff this is a plum high social doing maybe they'll be having some of them cocktails and right now I'm fustier than the coyotes in the middle of the Mojave deserts I didn't see any mention in this invite of your name no but there ain't no such thing as you go in some place without me well you could just cut out your blabber now Curly because we ain't going to know highfalutin shindig and that's final see you that is will you yeah sure sure come in how do you do sir I'm looking for mr.  Holt here I'm Jeff Holt what can I do for you I presume you've received miss Sylvia manners note mr. Holt I have a car here to pick you up well I'm right sorry but you see I'm afraid we can't make it if you just tell miss manners that we're much obliged now Jeff Holt you know that ain't no ways to treat a lady why is she bringing up I can assure you mr. Holt that miss manners will be terribly disappointed well I'm sorry particularly since she just purchased a ranch out your way what ranch the lazy Jay thank you Jay well that's my outfit I got a sneak in hands I'm going to get my thirst quench yes mr. Holt miss manners is going to be very disappointed if she doesn't get to meet her foreman well in that case I reckon we better go along with you awfully nice of you to join us Jeff generous of you to ask us ma'am I understand from Jimmy you had to be coerced into coming I was really amazed when I saw your name on the program as being from the lazy Jay I knew the place it changed hands but I had no idea my new boss would be a woman ma'am oh are you pleased or disappointed I reckon I don't know yet at least you're very honest well we will want to get together a lot while you're in New York will we I want to discuss things with you all you do what things for the ranch of course I've suddenly decided I'm very interested in that ranch I want you to meet someone may I present mr. Reginald witherspoon mr. Jeff Holt well bust my British if and I ain't right pleased to meet you stranger how are y'all I'm fine thank you oh and here's curly this is mr. Peabody mr. Witherspoon glad to meet you and now that the introductions are over would you gentlemen care for a cocktail oh well ma'am I ain't a drink in the say lead me to it curly if you gentlemen will forgive me for just a moment I'll get you something make yourselves comfortable you'll find cigarettes there on the table I suppose you would much prefer to roll your own wouldn't you mr. Holt no I wouldn't mind a tailor made I've been smoking them ever since I left home yeah me too ain't civilization wonderful I imagine you do find it quite a treat to visit a place like this I don't suppose you've ever seen a swimming pool like that one Italian tile is that so I thought it was Serbian hmm well we don't have much like this out our way mr. Witherspoon in fact the only swimming we have time for is on Saturday night and the boys in the bunkhouse be plumb ornery about taking the bath as big as that one mr. It's Witherspoon if you don't mind yeah sure. Yes sir I'll bet you'll have quite a tale of telephoto when you get out there all about the skyscrapers by the way how do you find the skyscrapers mr. Holt oh we just look around and there they are I don't mean how do you find them I mean what do you think of them they're all right I reckon them buildings for sure look funny setting up for the water hole wouldn't they reckon they'd give the cows a fit of the boat yes I suppose so tell us something about the great and glorious west mr. Holt I'll bet you boys cut quite a figure out there yeah some this must be quite a spree for you coming east getting away from herding cows and sheep what did you say a sheep sheep yes you fellows are cheap don't you you know curly this fella's so interested in us and how we live a person can't get a word in edgewise what do you mean well this uh swimming pool of yours that's mighty dumb fun and do a couple of lonely cow it sure is Jeff make sure eyes come out ahead now if you was to just show me what kind of tile that is on the bottom well I certainly come over here to the edge you see curly uh curly hair has never seen a pool like this that's right and I've always wanted to see what somebody would look like swimming in it well here's your chance curly we had to give mr. witherspoon a bath miss you see it's Saturday night I fail to see a joke and shoving a poorly dressed man into that pool oh man maybe it'll cure him or making fun of people you are rough next aren't you maybe so come on curly I think we'd better be motioned we pause briefly from our story round up in Madison Square starring Rod Cameron to bring you an important message from our government now a question are you one of the best as United States Air Force aviation cadets you will be one of the best because only the best can be aviation cadets if you're between the ages of 20 and 26 and one half the two years of college all the ability to pass an equivalent examination and if you are physically fit you have the basic qualifications for United States Air Force aviation cadet training after you've been accepted you will receive a year's special training once you have completed the course successfully the silver wings of an air force pilot will be yours together with a commission as a second lieutenant in the u.s. air force reserve if you are an outstanding graduate you will receive a regular commission in the air force immediately all other graduates have a good opportunity to qualify for one of the hundreds of regular commissions available each year while on active duty so don't wait visit your nearest air force base or us army and us air force recruiting station at once only the best can be aviation cadets the curtain rises on act two of round up in Madison Square starring Rod Cameron as Jeff Holt well a week has passed since they slapped a saddle on the last critter out of the shoot at Madison Square back at lazy j ranch in Wyoming Jeff and curly return to the routine of tending cattle of a late afternoon one day curly finds Jeff riding line repairing the fence the curlies are no little surprised as he rides out well here I am so what well what are you doing Jeff patching up this fence needs it on it hey it needs it all right well but you've got a lot of hands you get ordered to fix this fence why are you riding off like this Jeff you're worried worried about what that may be miss silvia man is going to take such a dislike to you for dunking her friend Whipple going into the water she's going to fire you now listen to me I don't care what miss silvia man is does is that clear to you yeah clear as a picture Jeff that Billy do got you you're a plumb local on the gal you better get going before I throw this hammer hey I'm going well maybe Jeff was local over silvia manners or maybe curly had a tall imagination at any rate one morning over at the branding corral while Jeff was supervising activities curly came streaking in on his paint and he had the darndest look in his eye oh I mean curly not the paint what's all the rush curly somebody tie a tin can in your tail no but I just ridding from North Fork look what a brandy it's uh oh shucks here it is a telegram wonder who from well ain't no way to find out setting to open it and see reckoning you're right curly Pete you better knock off it's about noontime you can catch those earrings this afternoon okay boss ain't you going to read the the well why don't you read it Jeff I'm aiming to well I'll be hog tied what's the matter boss well what do you know about that well suffering sunfish and sidewind is Jeff what's in that there a telegram before I bust a hamstring we're going to have visitors curly so yeah our new owners coming out here accompanied by quite a retinue a couple of secretaries and mr reginald witherspoon well I'll be uh for gorse sakes curly yeah Jeff look round up the boys have them put the two cars in the station wagon in the north 40 barn cover them up with tarps uh disconnect the refrigerator and put it in the cellar great jumping horny toes you're you're going clean off in your mind tell Pete to take all the fuses out of the switchbox and dig up the old kerosene lamps holy jeff's going local maybe I have but do as I say tell the boys to buckle on their guns oh yeah i'm ditch the radio this is the old west curly we're going to have visitors we're going to make them welcome oh here you are this way hold hello mr witherspoon take care of this baggage will you hold why sure where's miss manners she'll be coming with the others uh mr witherspoon no hard feelings about what happened in new york oh I should say not an entirely forgotten you're probably wondering why I've come along that's your business mr witherspoon and yours too I often advise miss manners about her affairs since she's so interested in this ranch now I don't want to see her taken oh you don't know so I'll share in the supervision that's your privilege oh here's Sylvia now hello jeff miss manners how are you just dandy well are the others coming they're staying in town tonight I guess we can move along buckboards over this way buckboard did you say you're out west now mr witherspoon oh it's all right I I plan to rough it can't have all the conveniences of civilization you know that's right and now if you'll help miss Sylvia into the buckboard I'll put your baggage in the back the ranch ain't far from here only about 20 miles 20 miles from here that's right ain't more than the stones for all in fact ain't much further than you can throw a bull by the tail you all set miss manners wonderful jeff hang on mr witherspoon on account of here we go get up boy say jeff couldn't you manage to drive a little slower I mean to say not for my sake but for Sylvia's oh no no don't bother about me jeff I love that it's wonderful I'd like it better if you could go even faster no sooner said than done get up boy oh look who might be getting a summer shower sure could use it yep there she comes oh sure would be great for pasture lamb here miss Sylvia you put this liquor over your head and keep dry thanks jeff haven't you got another raincoat jeff I mean to say I'm very susceptible to colds sorry mr witherspoon but that's the only one I've got rain would last long not more than a couple hours get up boys sound like mr witherspoon done cut yourself the papers Pete sure does girly what do you think we ought to do for well for goodness sakes do something I'll catch the boat you're breaking your will all right this is sure to moan your country out this way Pete I wonder how some of that horse liniment would go if in the we was to rub it on his chest why sure and maybe we could soak his feet in some of that turpentine and mustard and blue vitriol like we do for the horses when they get the stumble isn't the doctor of the neighborhood someplace I mean so you certainly must have a doctor here about some buses you well to tell you the truth mr whistle goon the nearest doctor about 40 miles from here over to centerville and he's a veteran veteran he's a horse doctor whether please ask miss manners or mr hope to come here perhaps they could suggest something afraid we can't do that away mr rasselblum on a kind of jeff and miss manners out about but don't you worry me and curly will fix you up have you fit in a yearland calf and timothy well we curly you bet we will you're going out here I've been trying to see you jeff I I want to talk to you I wanted to tell you I was wrong the way I talked to you that night in New York that's all right ma'am well can't you just say forgiven forgiven but do you mean I usually mean what I say what's such a beautiful night the moon the stars let's ride on the trail you're the boss ma'am you love it out here don't you jeff yes ma'am I reckon I do there's a lot out here to love look yonder rolling purple hills this stretch of prairie land is still clean and fresh like the air and the loan of the cattle I guess when a man's born to it he just can't get it out of his blood yeah I reckon I do love it out here do you think you could ever learn to love something or somebody else enough to give up this country I couldn't love anybody or anything they didn't love this country the way I do jeff tell me something or what is it we didn't see much of each other in New York and it all ended so stupidly but oh jeff why do you suppose I came out here with reggie well you said in your telegram bother the telegram can't you think of the real reason well jeff holds you're such an idiot haven't you ever been in love oh no ma'am well I mean what do you mean jeff well I mean we better be riding back to the ranch it's about dinner time and I'll bet you're hungry ah thanks Pete you let me help yourself you now that I begin to think about it I am hungry in fact I'm practically starved that's what the air out this way does for you evening jeff miss manners well you can set yourself right down cookies just dishing it up if you'd like to brush up I bet there's plenty of time Sylvia Mrs. Ames is kind of slow dishing up all right thanks I will where's mr witherspoon curly oh yes where is reggie I haven't seen him all afternoon you mean mr whistleblown oh him yeah have you called him for supper well I don't reckon he'll be wanting them jeff in fact he ain't uh he ain't uh he's gone that way gone that way yes ma'am miss manners you see uh me and Pete fixed up his cold what are you talking about well mr whistleblown catch the cold jeff me and Pete figured cure him so he soaked his feet in mustard and turpentine and the last time we saw him he was heading for the railroad station curly now me and Pete let out and tried to catch him but he was jumping fences and taking them gullies like he was a low-code jackrabbit whistle goon sure could run we're going to leave the ending of this story a secret except to say that if you ever travel west and happen to pass the lazy jay stop in and pay the folks that are visit you'll find jeff holt to form a rodeo champ and mrs holt who will probably look adoringly in the direction of her tall husband yes neighbors that's what a billy do will get you a billy do delivered at the round up in madison square it certainly falls in the final act of round up in madison square our star ron camlin a return for a curtain call after this timely message from wendell niles there is no doubt of any kind that the armed services of united states have always been and are today the healthiest organizations of their kind in the entire world the us army medical department is charged with the responsibility of keeping the united states army and air force the healthiest in the world but now with the rapid expansion of the services a serious shortage of expert professional manpower has developed you see the medical department is not physicians and dentists alone there is also the medical service corps in this group are pharmacists biochemists clinical psychologists social case workers and others of the medical allied sciences the us army needs men who qualify in these fields the army's career guidance plan encourages professional growth as the works of the medical department ever widens the opportunities for increased knowledge and scientific research for complete details right to the surgeon general us army washington 25 dc and i'll once again at the microphone our star rod cameron and our producer rod that was a rather warm treatment pete and curly used on reggie to cure his cold you mean so he is feet and turps mustard and blue vitria yes a cp that fiery combination acts the same as if he'd step down inside a volcano and come out rocket powered probably burned his feet off clear up those ears well now that we've gotten rid of reggie through the pyrotechnics of our heroes what's your hobby carving what wood carving oh here take a look at this car slide oh very fine where'd you get the idea for this one oh just sort of developed as i went along i've made about 300 of them 300 how long does it take to make one two or three days i'm working on a chest set now that will have over 60 different kinds of hardwood in it that's a real project well what an unusual hobby for an x pro hockey player not to mention your football and basketball career how long does it take to carve a set of chessmen well let's see they're 32 men to a set and it takes me oh about 18 hours to a figure at it'd be um if i worked eight hours a day at it'd take me about three months now if we put the actual worth at the rate of motion picture salary i don't figure my spare time like that i get my pleasure out of making and finishing these things which reminds me have you finished your picture stampede yet oh yes i made it at united artist and it should be pretty well distributed by now i saw you in the plunderers and very good rod so i'll be sure to catch stampede who else is in it well gale storm and johnny mac brown mostly what's your next release here next week rod and ladies and gentlemen ruth hussy makes a welcome return to our microphone in a romantic play titled design for loving this is the story of a working girl whose mental image of the perfect man becomes blurred through the scent of yellow roses which he sends each week to another woman sounds like a good deal i'll be listening in a whittlin so long as he can goodbye rod cameron be sure to join us next week ladies and gentlemen when we bring you ruth hussy in design for loving until then thanks for listening and cheerio from hollywood i'm going to bridge with a courtesy of the hollywood coordinated committee which arranges for the appearance of all stars on this program music was under the direction of eddie's prevent this program was transcribed in hollywood for release of this kind wendell niles speaking


Guitar and Excel, C major, A minor scale fret number nine, focusing on the A note. Get ready and some coffee, because you know Phil keeps telling me, you're not showing the best trade secret guitar techniques because you're scared of being ostracized. Then I'm writing code about this kind of thing. I could be ostracized. It's like whatever, Phil. I ain't scared of no ostrich, no matter the size. I ain't scared of you. I mean, what is some ostrich trying to size me up? Oh, look. They're starting to fight. They're just circling, sizing each other up. Yeah, it's like just because birds are descended from dinosaurs, some ostrich now thinks he's like a T-Rex or something. Come on, Frazier. You can get a ham, ham first. Threatening to ostracize me. I don't think so, bird. I don't think so.  What's an ostrich going to do anyways, huh? I mean, it doesn't even have any teeth. Me scared of being ostracized. It's ridiculous.  The dang bird probably gets tired just drinking water for crying out loud because drinking causes the ostrich's poor Adam's apple to run so many long laps around its lanky neck. I mean, how do you make an ostrich strained from exhaustion? You give it a drink of water. That's all you have to do. You just give it a drink of water for crying out loud. Scared of being ostracized. Whatever, Phil. You know, I'm giving out the super trade secret guitar playing classified insider info right here right now. So let's do this. 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 can help to orientate us. So let's go back to that first tab to get a general overview. We've been looking at the C major scale and related modes started looking at it in open position defined for us as frets zero through three. Remembering that this E represents the low or heavy string, the one closest to the ceiling. Funnest way to map out all the notes in open position is to make the chords from the scale that we are working in starting with the one chord. That being the C major chord, which we mapped out and discussed in detail. We then went to the four chord in open position because it also has a major chord construction, mapped it out, discussed it in detail. Same with the five chord. Then we went back to the two chord because it has a minor chord construction as does the three chord, the six chord, then the seven chord that we mapped out, which has a diminished chord construction. If we were to map out all the notes of all the chords, we would basically be mapping out all of the notes in the C major scale and related modes, which would look something like the blue notes here in open position. We then want to jump up to the middle of the guitar learning it not first in terms of chord shapes, but rather in terms of scale shapes, pentatonic and major scales, and then seeing how we can tie that into the chords that we learned in open position. So we discussed it in detail and then we discussed it in relation to each note in the scale that we're working on C major and related modes. We did a similar thing, jumping then up to the seventh fret, the next position, talking about it in a similar way, looking at the pentatonic and major scale, and then looking at each note in specific relation to that scale and how we can connect it to the open position in position fret five. Now we're continuing on with that discussion, this time starting on the fret nine position, and we looked at the pentatonic, the major scale, and now we're looking at each note that is in our C major scale, which is basically kind of looking at the different modes, and we are now on the concentration of the sixth note, which is going to be the A, and that will construct or build a minor chord that we're going to be focused in on. So what do all the colors mean? Well, this is the fret board, this E represents the low or heavy string, so that's going to be the one at the top of the guitar, the one closest to the ceiling here, and then we have all of the colors, all the white notes are the ones we're staying away from, those are the ones that are outside of the C major scale and related mode, so that's the lava that we typically don't touch, unless there's a reason, and sometimes there's a reason, sometimes we go to the lava, but then we can imagine the down on the bottom, we have all of the notes in our scale, C major and related mode, that's seven out of the twelve notes in the musical alphabet, and you can imagine all the colored notes having blue at the bottom, then we put on top of that the green notes, which are the pentatonic five notes out of the seven note, which is a scale that fits well when we talk about the C, as well as the sixth, which is basically the minor, so the pentatonic five notes obviously fits perfectly inside of the seven note scale, but also because now we're on the sixth and we're building a minor, an A minor, then the three notes that construct the sixth, basically playing in a minor mode or Aeolian mode, also fit perfectly both inside of the five note pentatonic as well as the seven note major, so if you think in terms of pentatonics, then this one, the major and the minor, fit beautifully any other mode that we look at, we typically have to make adjustments to it because we have to add the critical notes of the four or the seven when we build off of those notes, for example. Alright, and then we have these chunks that are breaking out the fretboard. Also note that that's going to be, then within side here we've got on top the green notes, and then on top of that we have the one, that's going to be our major point of focus, the light green, and then the three, that's going to be our second most important note, which is the third in relation to this A, and then we have the yellow, which is going to be the fifth, which is our third most important note to focus in on. So all the notes are good, but the most important notes that we're focused on to zoom around is the light green, and then the red, and then the yellow, and then the dark green, and then finally the blue. Alright, and so then we have these shapes that are giving us the different breakouts of our neck so that we can play everything, we should be able to play everything within these shapes in terms of all of our chords and all of our notes, but we'd also want to be able to move fluidly between the shapes. This first shape, we can call it a C shape because, and when we name these shapes, remember this is a little confusing, because we're focusing in on the A as our targeting point here, but usually we're going to be thinking about the related major when we label these chord positions, these shapes. So we could call it just generically position number four, or you can try to name it to its related major typically is how it works. So we're on the sixth note, which if I was to play around that note would be a minor scale. We're not going to talk about it in terms of minor right now, although the minor is almost as popular in of course western music as the major, so if people are playing in minor they're probably going to switch of course the numbering system around and make this the one. But we're going to keep with our idea here of playing around the six just like we did with every other mode, so we can more easily see that connection and we'll talk about the modes more in detail in terms of modes in future presentations. So we're going to basically play around that six. So when I think about this shape we could name it by the related major, which is the C, and if I build a C that's going to fit into the shape. Now remember that this C is representing three notes and the shape, if it was a pentatonic shape, it would still fit into the five note pentatonic shape in a unique way, but when you have seven notes that you're talking about then this C shape could fit in other positions. So whatever naming convention that you use you kind of have to keep that straight in your mind. So that would be the C, but we're focused on the A here. So the A would of course be an open position, an A minor that is this shape here. That's being outlined by the dark blue, which is a little bit hard to see, but it's difficult to put all these colors on there. So there is our shape. Boom, boom, boom, boom. Now over here it's on the outside. It's on the outside here because the ones on the left are going to be on the outside and then the ones that are leaning forward are going to be inside. So the purple, which is the next shape, is inside. So if we go from position four or the C position to position number five or the A position, this A is not tied to the A that we're looking at here, but the relative major up here. So in other words, if I shift around this C and I made a C chord going forward, it would be this C and then these notes down here, which I'm not focused on because we're focused on the A, but it would look something like that, which would be an A-shaped C major, but we're focused of course on the A. So within the A position, we can see that we had before this shape, so we had this string and this string. So there's our A right here and we could reach that A up to here. So now we have this shape with the purple here. Boom, boom, boom. And that's a little bit tricky of a shape to see a lot of times and sometimes people don't finger that shape as much. We would call that, you can call that a G, a G minor shaped A minor. And the reason for that is because if it was a G, here's a G position that's a G major and if I was to move that up here and play that G major here, it would look like this. And if I was to try to play each half of it, this would be the major shape like this. The bottom half would be that. How do I make it into a minor shape? We drop this finger the third and we get to that. So this would be like a, so now I'm lifting this finger up. So right, so it would be those three. So that would be, so we could call that a G minor shaped A minor if you want to call it that. We also have this shape within here. If I grab these two and this one. So we have this, let me put that on the outside. Oh, what happened? K, pause. Oh, I'm going to cut. I did it again. What is your problem, man? I don't know. My fingers. Okay, so here, so we have this boom, boom, boom. So we can play that little shape in that position as well. And then we have these three down here so we can play these three and that position, which is kind of in between. Okay, so then if we go to the next shape, which is going to be, I would call it position one. You might call it a G shaped and we're going back to the C major, the related major. That's what people name the shape based on. And that's because if I find this C, I have this G shape boom, boom, boom, boom, boom, boom. So it would look like that. Or if I played it, that's this major G shape here now. So that would be a G shaped C major. But I'm looking at the A's again. So we saw that this is one of our pivot points for the A where my pinky is. So that's going to be boom right here in this shape. So if it's on the top string, then I've got my classic bar chord. So you might double this finger to kind of put the pressure on it. Boom, boom, boom, this here, here, here. You can call this an E minor shaped A minor because if it was in open position, it would be these two. So if you pushed that up here, we have that. So that would be this, this, this, this. And the purple is on, I mean the red is on the inside here. And now the red is on the outside here as it overlaps to the next position. This position, by the way, you might play it like this. Sometimes is a nice comfortable way that I'll often play it. And then you have these three down here. So then we go from the position one to what I would call position two. You might call it an E shaped position. Why is it an E shaped position for some people's terminology? Because if I go back to the related major, then you can grab this C up top. And if I lean that forward, you get this bar shape. So if I build a major chord from that C, I get a bar, boom, boom, boom, boom. Which is, you can call that an E. That would be an E major shape because it would look like that up to here. So now you have an E major shaped C major. But we, once again, are looking at the minors here. So we were on this shape. So we had this minor shape bar, boom, boom. And so now we have this A right here. And if we lean that forward, where did my, this one, here it is, right there. And if we lean that forward, we've got a D shaped. So it's going to be this note, the orange is inside here. Now the orange is outside, the orange is outside. And here's the orange right here. So it would be this shape, which is, you could call that a D minor shaped A minor. You might see it more clearly like this. Just playing these three notes, going boom, boom, boom. Because that looks more like a D minor shape when you put it back into open position. But if you play the full shape, it would look like that. So you can reach back to that A. Okay. And then we're going from position two to the position we're working on, position three. Where some people would call a D position. Because if I go back to the related major, a C, that's what they're naming the convention on. There's the C. If I lean forward from this C here, leaning forward to this, to this. This, this, this is our little triangle D shape. But if I lean that back, then we get this, this, and this. There's going to be our shape, but we're looking at the A. So within here on the A, we're back to the octave. That open string is an A, and then here's an A right here. So one way that you might play this A is like this. You can grab this top bit, or you might lean it back like this. So you've got this, this, and this. Now you might call that shape a C minor, a C minor shaped A minor. Why is that? Again, it's a little confusing. But if you took your C position up here, it would look like that. And if I move that up to here, it would look like that, meaning I got my finger here. The third would be here, and then there's the fifth, right? So, but I want to, I want to bring this finger back to flatten it. So now I can say, okay, I have to switch this to my pinky and bring that finger back to flatten it. And then I've got to reach back to this finger, because I had my finger on another A. So I had to reach back to this finger. So that's a little bit confusing to see it as a C, but it is basically a C minor. It's a C minor shaped A minor. And then you can also have that top bit, because sometimes when you play the C like this, you grab the top bit, which is the fifth above it. And that's why you get this shape, boom, boom, boom, which is kind of part of that same shape, which is more comfortable to play oftentimes. And then the bottom part of that shape is going to be here, where you've got dot, dot, dot. And so that's a fairly comfortable shape to play as well. Okay, so those are going to be the colors, our strategy. And remember that each of these positions, we should be able to play everything in each of these positions, because I should be able to play all the chords and all the notes in each of those positions. That's the beauty of the fretboard, but we're only mapping out one chord at a time within the position. So we'll kind of map out how some things you might practice in open position, maybe talk about that more. But it's likely that most people know their open chords a lot better than their chord shapes up top. And the chord shapes they know up top are usually the leaning forward shapes, right? Because the ones that are built on the first two strings and the lean forward. But in any case, so what we're going to do is basically say one strategy we can do is we can go from the open position to the chords we know, and then jump up to our position up here so we can noodle around the thing that we're trying to noodle around while still jumping back to notes that we know in open position. So that's one strategy we can use to kind of focus in a new shape in the dusty part of the guitar and noodle around that. The other strategy we could use is we could of course try to blend our shapes together. Here's what we're working on this shape and then try to blend from the prior shape into the current shape that we're basically working in on following our fingers and trying to find smooth lines. And we could of course go back to the prior shape from that, the prior shape from that, the prior shape from that and use that strategy. So we will do that as well. Now remember that our normal strategy here is like if we were playing, if we were trying to practice the A minor in relation to the scale that we know, which is a C major, we might just put it in the mix so we can say like there's a C, there's an A minor, there's an E minor, and then go back to the C. But we probably want to practice if we're focused on the A minor and how it works, we might want to make it the center, make it the tonic, which means we're going to play around the sixth, making it the center, basically starting and stopping on the sixth. Now it's going to be natural for most people to say, well that means it's an A minor. You should make it a minor or AOLIN mode. And you could totally do that because the minor mode is so common, but it's also useful to see it as another mode. That's all it is, is another mode. All these things are kind of tied together modally. Even the major scale can be derived from the other modes. It's just basically another mode. It's just usually the home bass and western music. So I still want to think of it basically as though we're playing around the sixth and thinking about all of our shapes and chords the same, but making the sixth the tonic. And we'll talk about the modes, including the minor mode and AOLIN, and looking at it that way, which we're just basically making the sixth the one. Everything else basically the same in a future presentation. So now if we were to do that, of course, we'd just start on an A minor. Back to an A minor. It's not too difficult to make the A minor sound like home, especially for most western music people, because it's a common mode to play in. But we could still use that same trick, which you will always see even in the minor mode, even when you're playing any minor, because we don't have the leading tone going back home as we do with the major. So you can kind of cheat. You could say, well, here's my E right there. There's the fifth that I can try to lead back home. If I was to make an E out of a scale I'm in, it would be an E minor like that to lead home. But it might lead home a little bit more if I then add the major. So now I'm going to add that note playing an E major. And you'll hear that often times. So if I'm playing around in a minor, here's an A minor, C, G. And then I'm going to go to the E minor. And I'm going to add it to the major. So now I'm on the major. I just put this finger down. And that gives you kind of more of a leading tone to go back home. And that's basically because this note right here is resolving up to this note. So that's just something that we can always do anytime you're playing the minor to get the best of both worlds for it to be like a minor sound, but also get that leading tone home. All right, so if I go back up to this area, then we can again map out the chords that we have here. Well, let's first just get our ear around the sound of a minor. So what would we do there? We can play our scale, but this time I'm going to stop and start on the A, which is the sixth. But instead of making it the one, which is what we would do if I thought of myself in A minor, I'm going to keep it as the sixth. And I'm just going to go from six to six, right? So I'm going to go copy, copy. And I'm just going to go from here to here and try to name that out in my mind. So I'm not starting my plane up on the D. I'm going to start it down. I'm going to start it down here on an A. So if we do this, we'll be able if we do this with all the different modes starting and stopping on the note, then we'll not only get the shape down in our mind quite well, but we'll be able to play something different because we're playing around different modes, right? So I'm going to start on this A and I'm going to call it number six, six, seven, eight, or one, two, three, four, five, six. So now I'm on this one down here. So that's our six. And then I'll play it up to the F and then back. So I'm going to say this is going to be six, seven, eight, or one, two, three, four. So now I'm on this F, which is four, four, three, two, one, or eight, seven, six. And that gets us back down to here. And then I'm going to keep on playing that down to here. So then I'm going to go, okay, six, five, four, three, two, one, or eight, seven, six. So now I'm on this A. And then I'm going to play it all the way down to the F and then back up again so we can practice the whole scale, even though we're starting kind of in the middle of it. So I'm going to say six, five, four, three, two. So now I'm down to the D. Sorry, I went down not to the F to the D. And then I'm going to say two, three, four, five, six. And so then we ended up right there. So now we kind of get the scale in our mind. So the next thing that we can do is just map out these shapes again. So we have this shape, boom, boom, boom. So if I start on this one, you might say, you might try to lean forward. The natural thing to do is to make a bar chord whenever you make these shapes, which is to lean forward is what I would call. But you also can lean back typically. So we're trying to lean back here into our shape. So we're leaning back from this A and the third. For a minor third is going to be that C. And then here's the E. So once again, that's kind of a C minor shaped A minor. It's a little bit uncomfortable to play like that, but not too bad. It's a little bit easier to play the bottom of the shape here, which is going to be boom, boom, boom. So if I take my pinky up right here and instead put my ring finger down here, now I've got this C, E and A. This has everything for an A minor, but the A is on the bottom, so it is inverted. And I can kind of mute this finger. So I can go from there and then lift up my ring finger and reach up to this pinky up to here. Right, so. So I can play basically those two shapes and then up top, it's kind of comfortable to play this shape, which is on the top three strings, and that's going to be the fifth is above it and then the third is down here. So that's somewhat comfortable to play like that. And then also realize that this A is the octave. So you could play... That sounds funny, because I'm playing the open A way over here because it's a full different octave away.  So you can kind of mess with that open A even though we're way up top here and it sounds a little bit out of whack given the fact that the distance between the notes, but it's useful to know that that open A is there as a bass note as you go up and down the guitar. Alright, so now the notes that we've learned just to kind of go over them, we've gone over basically these chords. You might look at it like in terms of the major chords first that we've looked at. So if I look at this C, the C was here, and then we have this boom, boom. So if you wanted to kind of throw that into the mix, play an A and then go to this C. We did that. And then we know that the one four five is this way. So you've got the C, the one underneath it is the four and then the five is over here. You always have that kind of L shape. So one four five. So the F is right here. So we could reach from this F up top. That would be the top half of like a G shaped F major. The bottom half would be like down here that we would have. And then if we go from that F to this G, we have basically an A shaped G, which would look something like this. And so there's our G. And then if we go back up to the minors, we saw that we had the D, which is basically up top. That's going to be boom, boom. So we have this shape here, D minor. That full bar is kind of hard to play. So you could play like these three, which would be this, this and this on the D.  And so if we grab that E, we've got like that G minor shaped E minor that we can play basically up top there. And then we also said that if you wanted to convert that to a major to lead it back, because that's the fifth of the A, you can just take this finger and move it up, which leads you into the leading tone for the A minor that we'll be talking about. So you can take that E minor, change it to an E major, and then go to the A minor. So those are the chords we can look at, but we're only really mapping out one chord in this position, and that's going to be the A minor. So let's do our other strategy of moving up, jumping from here up to what we want to play in the current position. So let's pick a note. So if I say I'm going to play around that A, and then I'm just going to jump up there and kind of noodle around that A. So we might first say, well, what do I have around that A? So we can say, okay, I have this box again. And so I know I have this box, but now I'm going to try to make this A what I'm going to be focused on. So double stops. I could slide up to that F right there. And I know that these two columns, like I say, are a completely fair game all the way across. So once I get to... I can play everything down from there. I can play everything down from there. And I might end it off on this. An easy shape to end it off on or this. So I've got... So this is an easy... The most important note is probably going to be... Well, hold on a second. It's probably going to be the minor or the third, which is going to be this note. That C right there is probably the most important. They give you kind of the flavor of the minor. So the easiest way, you know, you could reach that just this way to get that third in there. Okay. So let's say we jumped back here and we said we're going to play an A minor. So you might just play... And then jump up in here and say... A minor. Double stop, double stop. A minor. A minor. So A minor. And then jump right to a C. Back to the A minor. So then, of course, we can go below here and focus more of our attention below. And if we go below that A, then now I can keep on going on this A. But now I have this shape, which is double stop, double stop, double stop. So I've got this whole little shape here and then I can reach up basically to this A down below. So these two are going to be my most important notes, the C and then this A. That A... I mean, sorry, the E down here. The E's nice because that allows me to reach up to that full chord right there. And then the C is nice because it allows me to reach that A and it allows me to reach the fifth above it for a full chord as well. So let's try that.  We could do something like that. We could say, okay, what if I went down to this A down below? So if I go to that A down below, then above it, once again, I have this little shape. So if I'm on this A, so I could go from that A above to above and end it on this shape, which is going to be this C, E, and the A. Or I could go down below. Remember the symmetry of these shapes. Boom, boom, boom. Double stop, double stop, double stop. And then down here, you've got boom, boom, boom this way. Double stop, double stop, double stop. And then also these two whole columns are good to go. So you can think about it as these two columns and then you've got this little extension on the two sides over here, right? So I've got my A I can go down here. Double stop, double stop, double stop. And then I could go to this way. So if I play this triangle, I might convert it to this to get the heavier A on top so it's not inverted. So we got down here, or something like that, right? So if I played an A back here, I could jump up to this A right here, double stop. If I just play this A and that E, that's a power chord. So we can do something like that. We can go to the prior shapes. So I could say, okay, what if I want to end off on this A over here, possibly playing something like this, and then tie that into my prior shape, which is in the E area. So within the E area, we've got this A shape, which is leaning forward from here. So here you've got this as a D shape. So that's going to be this one, this one, this one, and this one. So that's our D shape. You might see it down like this way because that's going to be just the D that we finger in open position. So if I'm here, then I can say, okay, where's my pointer finger? My pointer finger is going to be right there, of course, and I could try to noodle around in this box. So I've got this basically, this box that I'm going to lead in from this shape into possibly getting my pointer finger on that C, which I can then point up this way so I get these three up top. So I can say, okay, well, if I'm starting over here on this A minor, and by the way, sometimes people have a hard time grabbing this pinky. If you don't grab that pinky, you can play just these and then just mute. You can just mute this string and then put the pinky down when you're feeling it. All right, so if I have that, I've got the double stop, double stop, double stop. So you've got an interesting just double stops all the way through this area. So we've got just going backwards so you can do anything within this little chunks. The two things are nice and chunks together for one finger. All right, and so then, of course, we could do the same thing instead of heading up top to this shape. We could head into this shape here or into the shape where we're going E, C, and E I'm sorry, hold on a second. We're going E, C, and A. So... leading up that way. All right, let's move it back. We're running long on time here. Let's say we go from this orange. So now we're going to go back to the red where it's probably our favorite position for an A minor. By the way, A minor is a very common thing to play because it's in a guitar because it fits in the right in the middle of the guitar here and you get this open A. So now I've got this open bar chord which is great. So that's going to be this whole bar chord here and then we have this here and then if I was to piece that out I can play it this way which is going to be that C, D, D which is kind of easy to play. So let's start with the full bar chord and do our normal kind of thing and say, okay, I can move my pointer finger here. It's the easiest thing to move and then if I was to move it up I would be getting into this position up top. So I can move it up to basically get my pointer finger here and then move back down to pull out this shape. So if I wanted to stay up in this register I could do this shape up top. I've got my double stops here double stops here to here so we can play around, you know and then we could say, okay, what if I was trying to get from this higher register down basically to maybe this A down here so maybe I want to get from here down to this A and then turn this forward to get into this little range that we did before so then I can kind of noodle around from up top in my favorite shape here, right? This is most people's favorite shape for position one. And that puts me now into this shape. Now I just slid into this shape which gets me the same problem I had before. I can noodle around in there somewhere. If you start on this shape meaning I'm going to start it playing this way in open position this and then this and this now you've got an interesting flow of not maybe going from your pointer finger but these fingers you can kind of possibly move up although you're in this upper position here like these two. So you could move like these two fingers together from here our coffee is done to here to here right? So I could have my fingers all right let's move it back one so now we went from the G let's go to the A shaped so now we have our A here that's leading up to this A so we could lean that back like this that's going to be this A this C and then this E that's not the most comfortable kind of A shape and we haven't practiced this shape 5 too much so let's just kind of take this shape and see how can I move it into shape number one so I can say all right well my pointer finger my pointer finger would be right there so I can say there's my pointer finger and so I can move that up to here and maybe slide that up into my position number one here so if I was playing something like this I've got here's my pointer finger so I can just slid it up into this A so that I can then play my into this G so that I can move it down to here and play my normal A then I'm sliding it up to this position so I can play my D minor shaped A and then just sliding it up to the next position so we can follow that finger in that way if we played it like that and then let's just go to the full position so I was playing my A over here the normal shape would be my A shape like this boom boom boom boom this one is open so again where's my ring finger if I was to play it in open position or my pointer finger it's on the C now down below so if it's on that C then I could say okay well I know I can move that up to this position and then possibly to this position in my shapes I can say alright if I'm just going to be down here I can take that finger I know I have a buzz on that string I need to fix it but I have it double stops in that position and then I can move it from that position up into this position which I know pretty well so I can say alright let's go from here I have these three notes which is an A I can just say okay I know I have these three now I'm focused on that A below which has this inverted A minor and then I can take my C my fingers right on that C converted to this one so now I'm doing my A minor this way C boom boom moving this way and then I can try to get around to this A I'm going to look at this finger and say how can I get that up to this A so it's pointing forward slide it up boom boom so now I'm in this position so now I'm in this A looking forward there's the power chord right here to pick that one up and again now I've got my pointer finger here so I can go boom boom boom on these to get it up into like that to that C basically so now I'm in here and go and then there's my reach up to these three basically up top alright so there's the patterns on the A now remember with these open strings I really like to play these shuffle patterns and just play with those open strings so we can do this pattern with the A which is quite fun I think which is like you hold down this E and the open A and then go from the E to the C and then I'm going to move up to the next one holding down the F going from the F to the D to rating between A, open A and D and then going from there to the G and then alternating from open A to the E and then going to the next one which is going to be the A alternating from the A double A to the F and then go to the next one which is going to be a B alternating between open A and G and then go to the next one which is going to be a C alternating between open A and A and then you can kind of end it off right there so let's just kind of and then also just in this open position the note behind it is the blue note so that's useful to know so if you play that and I can lift my finger and I can lift my finger up hold on I'm playing this note the note behind it right there is the blue note and I can lift my finger up and also pull up that D get that D so I can play here the blue note and lift my finger up so that would be this right as I'm playing the A and reach this one above it so now I'm going to throw this one in reach it above it so now I'm going to go to the next one up which is going to be this E and then reach up to that D and double so I grab that G and the D and then I'm going to go up here and so now I'm going to go D I'm going to grab this one so now I'm grabbing those two and then I'm going to go up to here and now I've got the double stop on the A so I can go so that's two A's because this one is an A open and then I can grab that F and sometimes it's fun right here to grab this C above it and let go and then I mute it when I let go you also have the fifth right down below it so this is kind of a nice spot to be because then you have those double stop A's so that's kind of like your midpoint and then you can go up to here to do and so now we're going to go to the final A to here and then end it off with this boom boom boom and then you can go back the other way so that's a fun way to just get your strings going horizontal here