Good morning, everyone. I'm John Kennedy head of product for 3d engines at AWS Today, I'm going to talk about the lessons and processes I've learned working at Amazon for three years and in Startup for eight years prior to that specifically. I'm talk going to talk about how to pitch products using Amazon's unique document writing process and customer research process If after this session you want to learn more about Amazon's working backwards process, I highly recommend the book working backwards by built by Colin Ryder and Bill Carr It contains many of the lessons. I will talk about today And it'll give you more context behind the Amazon writing process If you're even more interested in the process Maybe you want to consider joining our team if you have game industry experience and product experience I have a role open right now for a product manager and the link is there Or if not, we have plenty of product manager roles open at Amazon at the moment You can find them at Amazon jobs. I Realize there is some irony in explaining how not to use PowerPoint in PowerPoint Writing documents for pictures is not for all companies and not for all situations It works really well at Amazon It can work elsewhere, but it takes commitment and process change for most companies Docks are you docks usually take more upfront work than presentations? But they can significantly accelerate decision-making processes and give teams much more autonomy after an approval or a successful pitch I'm not going to talk about the doc review process today, which deserves a webinar unto itself But it is important to note that to make the doc writing process effective also takes a rigorous doc review process By the end of this session, I hope you'll understand some of the advantages of a doc-driven pitch process And you know what you should take away is our research process how to get the most out of customer conversations What you need to get started before you start writing and how to write a pitch in the Amazon style So if you're currently at a startup trying to pitch your product You might be wondering whether this is the right session for you The process I'm going to talk through is a product process that operates on a large scale at Amazon But it is also the process that I would use if I was running product at a startup today Actually came to Amazon from being director of product management at a startup I observed the Amazon doc writing process while working with Amazon on a partnership and knew that I wanted to explore it further Amazon PMs are constantly pitching Every major feature or new product at Amazon has to go through this process It's always been refined with a multitude of best practices the question questions answered in an Amazon PR FAQ Are the same that you're likely to be asked by anyone you're pitching to? Amazon execs operate in a similar way to the best type of edge capitalists rigorous review with significant authority after approval Amazon execs want documents that give them all the context they need to make a decision similar to anyone thinking about investing in your product At Amazon a doc is owned by one person and before I talk about customer research and writing It is important to know why Amazon prefers single-threaded owners for docs There is a culture of thinking big at Amazon that makes That means a single PM Can pitch for a series B level of investment Amazon trusts this process because the doc writing and review process is thorough The PM is in charge of doing the customer research taking all the imports from internal teams Writing the doc scheduling reviews and rewriting the doc based on feedback from each review This is a significant amount of work I give each of my PM's ownership only only one doc at a time and and it is their top priority One of the outcomes of the of writing the doc in this way is a clarity of vision Documents owned by one person are much more likely to be internally consistent based on strongly how believes and Making one person a single-threaded owner significantly improves quality through accountability Docs are a lot of work up front But if the doc can drive a solid decision that it can avoid months or years of adjustment of a product vision prior to launch I'm not against product pivots But the best information you get tends to be it tends to come ask you launch the product What can happen at companies that give approvals based on limited research is an initial period of uncertain development Resulting in trash or waste as the vision is adjusted So let's talk about the research we do The primary questions we're asking when doing the customer research are who is the customer? What is the customer problem or opportunity? What is the most important customer benefit? How do you know what the customers want and what does the customer experience look like? Every pitch every Amazon pitch starts with customer conversations And in fact the minimum bar before I would take a doc to review by By parties outside of my group would be 25 to 50 customer customer conversations That's great Those customer conversations lead to relationships and that's great for product launches because you can end up With a number of customers invested in your product prior to launch So let's talk about how a PM can work with other parts of the business to build The product pitch and do that customer research. The first thing a product manager has to do To talk to customers is actually set up A list of customers they want to talk to or set up a pipeline and the people who know how to do that best of course Are sales? Sales can be a great resource for product managers wanting to work out how to set up more customer conversations and getting in touch With customers it could be that you're working with an enterprise sales team and that will be one set of processes It could be that you're working with a lean sass sales team And that would be another type of engagement Or you could be a product manager who also wears the sales hat In which case you need to switch hats, but in all of these circumstances it really pays to understand the sales mindset A gap that I I see with a lot of our product management is rigor around Around this process of setting up customer calls and customer conversations and building customer relationships And so what I do From my pms and in fact you could just use a serum for this if if you want But what I do with my pms I get them to set up a pipeline of customer conversations a shared spreadsheet Now in a circumstance or even for us That where I can see all of the customers they intend to contact And talk to without this kind of mechanism It's hard to maintain the two to three customer conversations per week That you'd need to get through to get through the research The next thing you're going to need is a good way to encourage customers to talk to you and that's the hook You know, so the hook is something that you could use if you were If you're going to cold call an email a cold call customer or send a cold email Or have a chat to someone at a conference It could be something It could be something that you give to a salesperson to offer to their Accounts to encourage a conversation really the purpose of the hook is to enable you to To set up a time, you know 30 minutes to an hour where you can have have structured time with a customer where you can You know Actually go through a set of questions that can give you the answers you need so You know sales people are brilliant at coming up with a hook But I also give my product managers a little template that they can use When setting up a hook and so, you know, it's important to respect customers time and expertise And so often it's good to start with with With that respect and and also by giving them some context So we're investigating a topic area or a problem space and recognize your your expert in this area We're considering building a service to solve the problems in this area. We would like your input Then you can offer value. So with your participation, we can ensure that the service will be built to solve your problems specifically And this is actually really attractive to a lot of customers who have problems in the problem space You're thinking about and would love them solved with it with a product they can use And then there are also bonus benefits you can offer sometimes to get off a gift gift cards You can also offer early beta access to the product So when you're having your first conversations, what you're really needing to do is problem discovery If you want to know more about problem discovery, there's a great book called spin selling specifically for sales teams You know, I I think about adapting that process specifically for product to To discover problems in a space that we're we're researching Where the product has actually hasn't been built yet. So, you know, I've taken the example of of storage As the problem space for this example I was previously working as the principal product manager on awp storage gateway. So this is a fairly familiar A familiar territory for me But these are some of the open questions that you could ask someone when you're when you're doing problem discovery in a particular problem space For storage. So how do you store your data on premises today? This is meant to elicit a story from customers. It's meant to get them talking and talking about their process and their challenges You should be able to start to hear things as they as they as you kind of do research across multiple customers to see what's important to customers How does your data move from on premise to cloud similar kind of question? You know asking about a specific process and once you hear more about that you might dive in further Asking what types of data do you store for what purposes? This is once again just broadening the view of of why they're Storing data. This could be implied to any kind of problem space You're going to make sure that you go broad and open up conversations to elicit stories And what this should result in is a set of freeform customer notes, but as you're going through these initial conversations It's also important to gather email addresses And quotes from the customer email addresses are great. You want to build a relationship? I think, you know, it's pretty reasonable to contact customer every couple of months to build that relationship and potentially set up follow on You know meetings with them to do further investigation as you further down the track to solve the problem The quotes come in handy later when you're writing to to be able to model the voice of the customer The next next thing you want to do once you have a set of problems Is ask close questions to determine the value of each problem for each customer? And this you're really asking questions that that are quantitative here So, you know, a good example would be how much data do you store on premises in the cloud? Or how much do you pay if you're on premises data infrastructure each year? And then how much do you pay kind of question is often really hard to get out of the customer? But it's gold when you get the answer. So it's often worth asking How large is the team that manages your data infrastructure? This is a great question If you want to apply it generically what i'm asking is team size And that's so valuable because a lot of products are going to reduce the or they're going to automate and reduce the amount of You know manual work and the amount of people it requires to solve a particular problem And so by asking team size You're really able to to start to understand the value you could provide In terms of reduced headcount for a particular problem for that customer And that that translates pretty easily into dollars So after this you should end up With a table where you've kind of asked these questions You've got quantitative answers You know and you can start to see averages Across the answers so you can determine the value of particular problems To to customers So once you have we understand the value behind Behind those particular problems You can then go to engineering and start to talk about what is viable to solve You know, what can we build with a small team and meet a need that customers care about? So when you're working with engineering You may not actually have a table like this But this is an easy way to think about it So you've kind of determined the problem You may be determined the percentage of customers that care about that problem and the value per customer But with engineering you can start to understand how long it's going to take to build And the number of people it would take To to build that product to address that problem Once you've kind of come up with your theory about which One of these products is going to be the the best ROI You can then dive a little deeper with engineering to come up with a Tentative estimate for a product roadmap to give you a little bit more firm of a timeline And then a team size And to make sure that you're you're accurate With your estimates and you can put that all into the P&L later on So the next step once you've kind of once you've worked out viability Is to start working on the messaging and marketing Are great people to work with on the messaging marketing have a broad view of the market the market size And also the language that will resonate with buyers An effective mechanism to do this is is a structured What you know working backwards messaging framework So there are really a number of questions you put in another table that are very simple. It can be answered easily You know and in conjunction with marketing So, you know, some some examples would be type of organization and user problem statement And then there's a grid of nine I like to use to divide up the major problem Into into its parts into its most important parts within the messaging framework and I'm not going to Be exhaustive to kind of examine all of the parts of a messaging framework We use it amazon, but but you know, I'm going to focus on a couple of the really important parts It'll help you write the peer FAQ later on So the first part of that grid of nine is the top three customer issues And once again, I'm going to use the example of storage here So let's break down the issue of customers need to need to access data on-prem into a few different issues on-prem On-premises storage is limited Some data sets need to be accessed both in the cloud and on-prem And on-premises data infrastructure is a management burden. So, you know, what you're doing here is taking a very customer-centric view Understanding their top problems is probably five or six or seven or more problems the customer has but by finding by by narrowing it down to the three top problems You're really ensuring that you you hit on the top value when you're writing your document That customers will connect with across a broad spectrum of customers Once you've got your issues you can then connect them with features that will fix those problems So you can see that down each column We've got a connected set of issues and features and benefits which we'll get to in a second So feature one that could fix the problem of of limited storage on-prem is cached access to cloud cloud data as an example And once you've got these differentiated features The the final part of the three by three grid is the top customer benefits So, you know that that on-premise data cache is going to give you unlimited on-premise data storage Now each of these boxes you filled out I filled them out with one sentence And generally what happens is you'll fill them out with a whole paragraph each But it's good to eventually get to one sentence that really defines The the issue the benefit Sorry the issue the feature and the benefit this is going to help Help you with writing the document later on so absolutely fine to keep in your paragraph or more of data inside the the issues and features and benefits But by the end you should also have you know the kind of one sentence summary And then additionally in the messaging framework, it's good to have a get started section This is going to help you with your writing later on it doesn't need to be connected to those columns It could be three or four steps or or more but three or four steps is a good number And this this gives you a little bit more clarity about the product because once you start kind of Diving into how the product is used it gives you a better technical understanding of what the product is and will be useful to customers later on So, you know, once you've kind of brought all those elements together It's time to start it's a good time to work with finance to think about the overall viability Of of the product, you know, finance can help you put together a profit and loss to really determine your return on investment for a product and you can build in all of the Pieces that you've put together including headcount costs and infrastructure costs and sales and marketing costs all these kinds of things You know And and everything that we've created up till this point should actually go including this peer now should go into the document's appendix You know a peer FAQ should be about six pages in total But often we'll have 50 pages of appendices behind that with the supporting information or that information We've been gathering in this process of working with customers and you know the customer log and and then all of the Partners that we've been working working with up to this point So now we're ready and Ready to start writing and maybe we've come up with a draft peer FAQ You know press release and frequently asked questions document prior to this point But all of this information is going to make it a lot easier that we've gathered to to start writing and you know the point of a narrative document at amazon and it could be The structure that i'm going to talk about today, which is the press release and frequently asked questions structure Could be a different narrative structure But the the point of writing at amazon is really to lower the cognitive load for for a decision maker So that they can make a decision quickly and have all of the information available and some of the style points when writing include You know that we We don't use jargon because that that would increase the cognitive load You know, we want to be technical, but without but without necessarily using You know industry jargon, so it's easy for any on anyone to understand We you want to remove uh, it's important to remove unnecessary adverbs like extremely or very these don't actually add very much But uh, but but they do kind of cloud Cloud the message. It's important to avoid negativity. You don't really be talking about uh competitors You know and it's and it should be appropriate for c-level customers or uh technology trade journalists. That's kind of who you should be thinking about Pitching to in this document It should be completely comprehensible on its own It should have correct terminology usage grammar spelling punctuation And it should be reflective of what's planned for the initial launch Not aspirational because you want to be able to determine whether what you're going to originally initially launch is going to be attractive to customers So let's get into it. So the structure of a working backwards press release I've broken this down into all the paragraphs and the pr and then the faqs and actually Points one through seven here or fit into just about the one page So, you know the first page of the six pages the faqs should take up the other five pages And I'll explain why that's important a little later But let's dive into the structure of the uh of the press release to start with So it starts, uh, you know just very simply with header subhead one subhead two And uh, you know these could be uh, these should be very simple They should be the kind of the key customer benefit Uh, you know who are going to think About the example we've been using such a storage gateway. We might say, you know, um, aws announces Storage gateway, but in fact in your document you should use a code name And this is using a code name is really important because it takes away bias When people are thinking about your product and you're researching your product and you're kind of you're bringing it to them If you give it a descriptive code name, uh, you know that has the word storage in it even, uh You know in that problem space it really biases them to to what they think the product is and will do So coming up with the code name is really important.  It's great to talk about the ideal customers. You would want for the product So paragraph one, um, it has to be the complete summary. Uh, you know, when you're writing a pr It's often that it's excellently read paragraph one So you've got to include everything there and I've got a little template here But to give you an idea of what it might look like if I was actually to kind of play this out and replace The placeholders here it might be something like, uh, you know, uh, uh, Seattle December one 2023 each day aws announced aws storage gateway a hybrid storage appliance that makes it simple for it administrators to give us Uses access to unlimited data storage on premises And that's kind of the first sentence. It just lays it out. What it is. What it does next sentence. Um, You know, let's talk about the value so customers can use aws storage gateway to enable symmetric access to common data Datasets on premises and in the cloud through a range of protocols including s and b and nfs So I've given some detail. I've given the value prop, you know a key takeaway Um, and and then I might dive into some of the fact Functionality so I might say something like uh with storage gateway It's easy for customers to manage their storage appliance was all updates managed by aws and administration by their eight via the aws console Really condensing down the message that I'm going to talk about later on Into this first paragraph and then it's good to round it off just with how to get started if your product is not a Assass or you know a service like we would have at aws. You might you know have something to download or install But for aws, obviously you can activate everything from the console. So you can just say something like to learn more Visit, uh, you know amazon.com slash storage gateway or something like that So the next paragraph focuses on the problems You know, it starts with a top level problem And then we're going to take the issues that we built in the messaging framework And we're going to actually create a paragraph out of them So, you know, it's important to know that you can't quite take the issues verbatim I couldn't quite create a complete pf aq generator because You know, you have to actually tell a story It has to be a narrative for it to be easy to read the points have to flow together So it might sound something like this, um, you know So the top level problem We might say something like more and more customers need low latency access to increasing amounts of data on premises desktop applications and high performance computing Generating petabytes of data that the most part is Is stored on premise and large storage storage arrays something like that And then for each of the issues you could go on and say, you know For maybe issue one these storage arrays are limited in size by their hardware and available space on site Meaning that each time a customer runs out of storage space They must undertake significant planning to upgrade slowing down the user processes and ultimately limiting innovation So you see i'm capturing uh the point in in a narrative Sentence or two there and then i'm leading on to my next sentence, which should be the next issue So something like much of the data generated will also eventually need to be accessed in the cloud for backups Further analysis or used by cloud applications The process to move this data from storage arrays can be time time consuming An eventual access in the cloud may not be consistent with the access protocols on premises complicating application migrations to the cloud So try to join up the sentences but still maintaining the issues that i've laid out And then the final sentence might be in addition on premise storage arrays require ongoing maintenance and physical security at each location So the next paragraph is going to be the solution and we're going to connect You know with those issues we're going to make sure we address those issues With a combination of the different features coupled with the customer benefit So the the top the top sentence and the solution paragraph is just what the product is and the and the top level customer value so something like You know aws storage gateway is a managed hybrid storage appliance That gives customers symmetric multi multi protocol access to unlimited storage on premises in the cloud right, so what it is Customer value prop top level and then you can start to connect your features and your customer benefits into sentences So something like storage gateways managed on premises vmware appliance provides an on-premises cache ensuring low latency access to unlimited storage on premises for users something like that So you see i've connected up the feature and the benefit And and address the issue that we've mentioned the previous paragraph that should flow into the the next sentence So similarly I could say something like the appliance is connected to a cloud service that provides access by the same protocols To the data in the cloud including s and b and nfs You'll notice that i'm going the layer down in detail now in these i'm giving a little bit of extra information To interest the customer a little bit more in each of these features and customer benefits So final sense could be something like a storage gateway is managed by the cloud by the In the cloud ensuring that customers can set and forget the appliance And automatic maintenance windows can be set up to ensure that storage workloads are never interrupted critical critical times to the business So once again just expanding You know that that on that feature and customer benefit issue in addressing the issue in this paragraph So from there we're going to have a lead a quote and this quote is meant to capture the value provided to the customer Really the why it speaks directly to the main benefit the value proposition the differentiator But the tone should be humble and focused on the customer And the the big difference here is the the this kind of this paragraph this quote is conversational And you know one of the great advantages here is if you have a top level approver who's going to approve this They can be the person who you know is cited in this quote And so by putting it in their voice You can really connect with them and they can of course adjust this quote in the review And really put their claim, you know put their stamp on on the the pitch So final paragraphs are getting started paragraph as I mentioned when we're talking about the the messaging framework The getting started can really just dive a level down into the technical detail. So You know so a customer or user or an engineer understands a little bit more about how The product is meant to operate So I might say something and this this doesn't have to have an overall summary This can just be step by step So I might say something like to get started with aws storage gateway customers can install the VMware appliance on premises at each location where they need access And then the next step is something like then they can connect the storage gateway service their authentication system By the aws console Finally, they set up file stores by connecting storage gateway to storage buckets in the cloud These file stores will now be accessible on premises by the appliance in the cloud within the selected bpcs Really simple. It just gives the next level of detail down The customer quotes are really important and you can actually use the quotes You got during your research to speak in the customer voice What you want to put here is that the customer quotes that would apply after the service has been launched And actually the way I think about it is I bring customers into the beta period and they can give me these quotes And they'll be actually quotes that I get from customers by the time we launch the product So two to three minimum, but it should cover each of the major Issues sometimes, you know, so usually how three issues you could then create three quotes from three different customers And they should be believable written in a human voice, but they should also address the particular business issues of that particular customer So let's talk about the the FAQs you know the FAQs By the fact that they're written to the customer They they mean that there's no extra context there and as many of the FAQs as possible should be written to the customer We're going to talk about internal FAQs in a minute But most FAQs should be external and the first set are just a set of five standard questions What are you launching who should use it? Why should they use it? How do they use it? How much the cost and these are pretty standard across all products But then you then you get interesting questions and these are the questions You all have been asked later in the research as you kind of solidify your vision around the product and as you have ongoing You know conversations with customers And repeat conversations with customers. I'll actually start to ask you questions about the product And that's that's exactly what should go into this section They should also you should have a set of questions describing the major features in details So it really really gets those And to explain the major assumptions that you made when you work with sales marketing engineering, etc Then you should have then you probably should end You know with a set of internal FAQs to describe things you can't actually describe externally These might include market size and competitive offerings pricing research Details of proprietary technology and and maybe a summary of your P&L if you need to bring that in to the first six pages So at that point, you know by the end of the the FAQs, you should be at six pages or fewer It's very infrequent that will end up with less than six pages And the reason is that we usually blow out to eight or nine pages And then have to shorten our writing and you know, maybe cut out some of the less important questions So finally just briefly on timelines It's incredibly variable how long these will take to create But you know given a cadence of two to three interviews per week It's pretty reasonable to get all the research and writing done within a three week period And then it really depends on the size of your organization Talents and we're going to take to go through peer review and executive review and approvals So That's it. Thanks for attending You know, that's all we have time for today But if you're interested in this process and you're interested in product product management You know, please reach out if you want to join the team and you have game industry experience Or if you just have questions about the presentation, you can reach me on via email or LinkedIn or Twitter here And thanks for coming along


headline news update. Hi everyone, Vazzalchap, and here Tuesday, December the 7th, we're looking at another monster move in the Dow. This has the characteristic of many very, very favorable takeoff phases from a low 200 period moving average to the Dow. It's up 471 and 35,697. This is outstanding action. It's actually broken the downtrend line. There it is, but it's in today, so we have to wait a little bit to see what happens by the close, but the entire candle so far is above that Chapman Way folding axe trend line. This is really good action, and what we do have to say is that the MACD needs to cross positive, and actually it's a huge turnaround. It hasn't yet, and stochastic needs a lot of work at 34%. Price wise, this is very good. So the Dow is up 1.3%. The S&P is up 1.88%. Better yesterday, it wasn't as good, but now it's better than the Dow. It's up 86 and 46, 78. Look at this move. Breaks above all the resistance levels. This is very important. It's also very important for the weekly chart to be looking at this. What a difference a few days make, and now what we're looking at is the QQQs. Will they be able to continue higher? They're up 9.57 and 395.77 up 2.48%. Nice going right to the resistance level if the QQ is by today's Tuesday. By Wednesday afternoon, Tuesday morning, are trading even close to 400. 401, that would be absolutely excellent action. Looking at the IWM, the Russell 2000, also up 2.4%. Up 538 to 224.41, lagging a lot, just above the 14-beard moving average. We'll talk about that when I get back from my target admissions hour in a couple of minutes. But this is going to be very important. Look, gold can't get out of its own way. Up 3 at 1782 in the lower range. I had mentioned the other day that I thought that the, actually for a while now, I've been talking about Bitcoin as being very vulnerable. It went right to the 200-period moving average at 48,000 after hitting 69,300 just recently. That's a huge fallback and now it's having a pretty good bounce. Crude oil was rallying earlier on. Now it's added to that. It's at 72. There's a lot to talk about as well as bonds. When I get back from my target technicians hour, check out my, you can call my dating newsletter. I'll be back in a moment. Hope to see you there. Otherwise, same time, same station. Come on.


In te, če se skupavaj, neč čim naredim v komentacij, in in vse te glasbo tudi postočutno bom odložite in po všeč bo bila kaljbe pred vsoj. Zato imamo, če vse je poživati in drugi nebi poloče potročen. So, the concept around RACULIZE has been already explained yesterday, but, briefly, the idea is that basically, we enable the communication of existing web APIs or external context like IPFS and Swarm with any blockchain. Most of the users of RACULIZE at the moment are in the Ethereum space. And along with the data that we send to the blockchain, we also attach the authenticity proof, which is basically a collection of signatures and data that anybody can use to verify that we are behaving honestly, so that while intermediating here, we are not operating in a malicious way. We are not tampering with the data. So the way ORACOLIES works isligtopy drowners. So basically you have a contract like this, which includes the ORACOL Sasha APIs and this is the nowadays contract, very simple one. And you can call out to the ORACOLIES query, Oracleis query to the Oracleis engine. And you specify a data source, which in this case is URL. It means that you want to do an HTTP get request. And you specify the actual query. So the endpoint you want to call in this case is cryptocompare.com. So this is basically the reference to the data you want Oracleis to get for you. Oracleis does it, and it sends back a new transaction. So this is the second transaction. The first one is the transaction that the user does that maybe calls the update method and starts the call out to the Oracleis engine. The second transaction is this one, basically. So when we send back the result and the authenticity proof to the calling contract. So this is a transaction that typically calls the callback method. You see here, you have a query ID. You have the result and the proof. And then you do whatever your contracts need to do with the result that Oracleis has sent back. So basically, what we want to talk about in this presentation is how to solve this problem. So we know that we have different limitations on the blockchain due to constraints of the EVM, like missing floating point support, for example. The gas limits, which in some cases for complex computations restrict the applicability of some algorithms. High costs. For example, we might have something which is doable on chain, but is not really convenient because maybe it end up costing 3 million gas or something like that. So it might be very expensive. And of course, due to solidity in the EVM, we cannot use traditional libraries. Think about financial libraries or all the libraries that I've been designed in the last decades. Also, we know we have no confidentiality privacy. There are new techniques to get some, but they are still quite new. And there are scalability problems of doing everything on the blockchain, which typically is not a good idea. So we want to solve this, and there are different scalability solutions that we have seen with previous presentations. For example, Trubit is one way to solve this via an iterative process that I've been presented already. The approach I'm going to present now is a bit different. It's based on the same security guarantees that Oracleize provides. So it's all about proving that a given piece of code has been executed as intended in an off-chain context without needing to execute the code again. So if you think about Trubit, the way it works is that there is a verification that some operator, some agent needs to do so that basically you find out where the disagreement is on the result. So you need to basically execute the code again and again, which might be impossible if the process, for example, is not deterministic. In the design that I will explain in a bit, what happens is that the execution is done just once, so it's not necessary for the code that we've write to have any special property or even to be deterministic. We will just try to prove that the computation was done in a provably fully locked down environment that nobody could control. So basically what we want is to overcome the limitations that we have just seen, possibly without bringing too much complexity without filling up the block, so without using too much gas, basically, because we want to keep it cost-effective, so we do not want to break the viability of most dapps with transaction that costs $60 or something like that. And we want to keep strong security guarantees or we wouldn't use the blockchain in the first place. And yeah, we want basically verification without execution. So I will show you first how it's possible to do it, so how it works in practice, how a developer can write a computation archive for the computation data source and then we will see some properties. So basically the way it works starts like this, so you need to write down a docker file. Pay attention because the docker file is not used here to give isolation. Historically we have seen that docker does this quite badly, so we have seen different vulnerabilities of docker itself and the installation techniques being used, docker is quite a mess for its design, but the reason why we use it here is that it's pretty much the de facto standard for describing an execution context. So basically if we want to write a recipe that describes how we want to execute a given piece of code, docker is widely adopted and widely used. So here this is very simple, this is like five lines of code. Here we are just saying that we would like the codes to be executed in that reference docker, so Ubuntu, blah, blah. We say how we want to initialize the context, so we need Python and here we are just describing with one liner what we want to execute. So here we are saying, okay, I want to execute run int function in Python and I want to print to the standard output a random number between zero and 100. So this is very simple, but it could be as complicated as you would like it to be. So it could depend on external files, on external libraries. It could even just be a binary, I mean it doesn't really need any special configuration due to the architecture. This is a very traditional way to execute a piece of code. What we do next is just putting the docker file and any other file dependency that we need into a very simple archive, so into a zip. And what we do next is distributing it somewhere. So this somewhere could be basically anything, but for now what we support is just APFS or swarm. So what you see here is basically it being uploaded on APFS. As you know, this doesn't guarantee the persistency of the content, so you need to guarantee that the file will be available by keeping a node up and by pinning it or by pinning it to a running instance. So what happens next is that basically anybody could potentially knowing the APFS multihash in that case could download the content of the zip file, could check the docker file and understand what we want to execute. So this is basically what we need to tell Oracleize. So we just say, okay, here the data source is computation, so here we don't want to call out to an HTTP API. We want to execute a piece of code. So you describe next as one argument the multihash or a reference of the zip file. It doesn't really need to be over APFS. It can even just be the SHA-256 of the archive and if for reasons Oracleize already knows because you sent it off chain, for example, what the zip file contains, then it will be able to resolve it. So basically here we just need to reference the code. You see that this enable basically anybody that has access to the correct zip file to verify that we are referencing exactly that content. Here potentially you could specify more arguments in case you need it, but this is not mandatory. I mean, it depends on the code you are executing. If we look again here, we see that there is basically no argument. We are just saying we want to execute to get a random number between zero and 100. If, for example, 100 was to be an argument, then we could refer to it and specify here the input argument. So this is just an execution with browser solidity. You see here that basically the code was executed. The result was 46. And since in solidity we didn't really do anything else, this is, well, we stored in, we saved in storage the random number. So yeah, here you have the random number. This typically takes a couple of minutes to execute and the overhead for the execution is because of the way it works. So at the moment the way it works is quite simple. So it's based on the concept explained on Bitcoin talk, I think in 2012 or 13, the first time, which was called the Amazon Web Service Sandbox. So basically the idea is that by using some APIs provided by Amazon Web Service, we can prove to a third party that a given machine, a given instance we spin up, is really based on a publicly verifiable snapshot. And we can prove basically that according to Amazon, the code that execute, the machine that executed that piece of code is really fully locked down and there is no way for the operator, for whoever created the machine, to get access to it and to tamper with the result. So for example, when you started SSH is disabled, the password of the root user is randomized and so on. And the Docker file is executed in a way that the input hash that we have specified is verified. So basically these are all pieces that anybody can verify and if you trust, not to recognize in that case, but Amazon, then you are 100% sure, unless there are some bugs in the code, that the result is really coming from there. This is based on the assumption that we trust Amazon and this is again, as I explained yesterday, the same trust lines that we have with authenticity proofs. So what we can get to lower the trust involved is using different techniques. So for example, in that case, we could use Azure or other cloud platforms that provide similar guarantees. And basically the user can choose to execute that piece of code on different contexts. We can get the authenticity proofs from each of those and if the result does match, then we know that according to three different attestators, the execution was really that one. So this is a compromise that today basically provides a simple approach to the delegate of chain computation. Of course, this is not as trustless as it could be but it has some nice properties. Basically it being so simple and generic enables any piece of code to be executed with no constraints of using a custom virtual machine or custom architecture. Docker, which is pretty standard, can be used today. This is being used already by some projects and it has a very broad applicability. Like before the last artwork, we were using it to enable some contrast to use an RSA signature verification. Now this is possible to do it natively but it did enable some project to use crypto that was not natively available on Ethereum. It can be used and it is being used by some banks to integrate into their proof of concepts financial libraries that they are really used to. And of course the alternative would just be to have on a centralized server that they manage to execute the same piece of code without giving any guarantee. At least in this way we prove that according to a different party the execution was correct. So we can move the trust away and spread it among different parties. The future works on the computation data source all based on the feedback that we will get. We already got some very good ones so please come to me if you tested it or if you plan to test it. Something that we already have in the workings is as I said the execution in different contexts so that we can provide different attestator guarantees. The on-chain verificability of proofs as we announced yesterday will be available on-chain on test nets very soon, before end of year. So this is already pretty much works and it enables the receiving smart contract to verify the proof before using it, before using the result. Long-running instances are something else that is quite interesting. We already did some tests. So basically for example, there was a project where we tested the PayPal payment being done via this system so that a smart contract could prove that there was a fiat payment with some parameters received by a user and it could maybe release a token or do something like this accordingly. But there are many other possibilities. For example, the A2 project is using this in the decentralized exchange at the air building to prove that the order matching of the decentralized exchange that typically is done off-chain is fair. So for example, you want to prove that you are not doing any front-running, you are not censoring orders and so on. This is something that not even centralized exchange are doing. And then supporting different architectures if you don't want Docker file to describe the execution context, maybe you want to execute something in solidity on the AVM or you want to use the Moxie virtual CPU or other architectures. Thank you for your attention.


Guitar and Excel, C major, A minor, pentatonic scale fret number nine, intervals. Get ready and some coffee, because sometimes we just need the right mindset to push forward. Like that time I slashed my finger on a guitar string while executing an epic guitar bend and then attempted to not make a mess by putting my finger in a glass as I worried about my precious lifeblood rapidly draining from my body. The blood level in the glass quickly reaching half full. No, what do you mean Phil, I'm a pessimist for saying the glass was half full. Come on, the glass was not half empty Phil.  Half empty, whatever Phil. You know, I'm not listening to this pie in the sky stuff about the glass being only half empty.  Why? Because gravity. That's why, because gravity. The proper response to a pie in the sky is not, it's not to start dancing around like some hippie. It's to say, hey, watch out, heads up, there's a pie in the sky. It's about to hit us in the face. Whatever. Anyways, luckily I heard from a reliable source that the brain doesn't really need blood as long as you keep it wet. So as long as we can keep the beer glass from getting half empty, it should be okay even though the totally huge blood glass is half full. Now it's not for optimism.  Sorry if that was too sweary for my English listeners. We're allowed to say bloody, you know, in the United States.  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 the first tab to get a recap of that overall overview. We're looking at the C major scale and related modes. We started by looking at the open position which we defined as frets zero through three. Funnest way to learn notes in open position is to map out the chords from a scale. And we started with the C major chord, mapped it out in open position, discussed it in detail. Then moving to the four chord because it also has a major chord construction indicated by this uppercase number here. And then we went to the five chord, same thing. And then back to the two chord which has a minor chord construction, same with the three chord, the six chord. And then the seven chord or diminished chord. If we were then to map out all the notes from those chords in one position, in this open position, we would be mapping out all the notes in the C major and related modes which would look something like this. All the blue notes here. We then wanted to move to the middle of the guitar and learn this position not starting with chord constructions, but rather with the scale constructions so that we can then tie in what we learned in open position to what we're doing in the middle of the guitar from a scale format to start out with. We started with what I would call position one. You might call it a G position. And then we mapped it out, discussed it in detail. We did a similar process then moving to the next position, which I would call position two, which you might call an E position, which starts on fret number seven. And then we moved up to where we are in essence now. We're looking at what I would call the, let's look here, the third position. The D position you might call it, which we discussed in a prior presentation. And now we want to think through it in terms of intervals. We basically just went through it in terms of finger in it. Now we want to think about it in more detail in terms of intervals. Now this is a practice I recommend doing like in the morning because when you need your mind to be actually working and then possibly in the evening kind of noodle around and working on your fingering and whatnot because there's a lot of things that seem to blend together that we have to kind of pull apart in our mind, including all the different numbering systems that we can use. If we start to mix them all together, we're going to get confused. So for example, we need some kind of system to allocate to all of the notes. We could use letters, but it's also useful to indicate them with numbers, which I'll argue for and discuss, although not everyone agrees with that. So we have that numbering system. Then we have a numbering system with regards to the scale that we construct. Usually a seven note scale in Western music, which means we're taking seven of the 12 notes and then numbering it in the position in the scale. And we can see that in numerical and we can also have the Roman numerals, which will give us added information about whether we're constructing a major or minor or diminished chord from those items to diminished having a little dot here. So that's another numbering system that we need to basically understand and then we have interval numbering system. We could think about, say, the intervals as we move from note to note in the scale, which is another numbering system that we need to know. And we also might think of the numbering system in terms of the interval of each note in the scale as it relates to the one note or tonic note in the scale. And we have these intervals that we might think of in terms of each note in the scale having its own distance with relation to that chord note within the scale. So these are all things that seem, you know, they seem to completely blend together if we don't understand the numbering systems or don't try to keep them straight in our mind. We also, in essence, could have a numbering system as I do here for the positions as we cut the guitar into positions. We're trying to label these different shapes in some way, shape or form. You could use a numbering system, you could use the open shape formats that we're trying to discuss. So I'll try to touch on different techniques that different people might use. So a quick recap of this, I'm going to go back to the OG tab to discuss the quick recap. You will recall, or when we constructed the worksheet in a prior course or section, what we did is we just basically laid out all of the notes in the musical alphabet, which is not as easy as just saying the musical alphabet, A, B, C, D, E, F, G. It just goes to G because you've got those half steps in there and the half steps could be named multiple different ways, such as, for example, this could be an A-sharp or a B-flat. For Excel purposes, I'm going to put it AB lowercase so that it can indicate basically either one. That's going to be the functionality or the way we're going to do it in our worksheet so that we can see that clearly. Now it's going to be hard then to say the musical alphabet because you can't really use a song to say A, A-sharp or B-flat, B, C, C-sharp or C or D-flat, D, D-sharp or E-flat, E, E and then to say it backwards is even worse, G, G-flat or F-sharp, F, E and then E-flat or D-sharp, right? You can't really just, it doesn't roll off the tongue unless you were to repeat that a lot of times. But if you number them, then it becomes fairly easy to say to go up and back. So if I just name the A as the one, the A-sharp or B-flat as the two, the B is a three, the C is a four, the C-sharp or D-flat is a five, D is a six, the D-sharp or E-flat is a seven, E is an eight and then F is a nine, F-sharp or G-flat ten, G is an eleven, G-sharp or A-flat twelve and then it repeats back then at one. If you can remember that, if we can code in our mind, which doesn't take too much trouble because there's only twelve notes, going back from number to letter and the other way from letter to number, then we can use some nice math in order to say how far is the total distance that we're going when we're thinking about intervals. And that becomes quite useful when we think about half steps and whole steps and we're trying to count up from going from like an A to a C, for example. If I can number them, I can say, well, a C is a four minus the one, and it's going to be three steps up. Whereas if I try to count it out with the alphabet, musical alphabet, I have to say I have to do that clunkiness of A, A-sharp or B-flat B and count it out most likely on my fingers, which isn't as efficient. So that's why we're going to be naming our notes one A. That represents the fact that it's note number one. That's an absolute position. It's not going to change and it's an A. A two, which represents A-sharp or B-flat. So that's what these notes that are in our fretboard represent. If you're not used to the numbers and you don't want to do that, you can just use the letters if you so choose. Then we need to construct our worksheet over here, picking out the seven notes out of the 12 that we're going to use. What's the pattern for doing that? Well, I'm going to make this, I'm going to bring this back to a four, which is a C, so we're starting on the C major, and then we use the pattern of, you can name this in multiple different ways, whole, whole, half, whole, whole, half, is one way that you can see it, or you can see it in terms of notes, two notes, two notes, one note, two note, two note, two note, one note, and so on. So if I was to then count this out, if I can see that C as a four and then I apply out my intervals, I'm starting on four, which is a C plus two, gets me to a six, which is a D, going from a D plus two, a whole step gets me to an eight, which is an E, plus one half step gets me to a nine, which is an F, plus two gets me to an 11, which is a G, plus two takes me to 12, and then around the horn, back to one, which is an A, one plus two gets me to a three, which is a B, and then three plus one gets me to four, back to my tonic, which is a C, and you can see we can repeat this process going around in a circle, given the fact that there are 12 notes. So we have then these intervals, that progression, the whole, whole, half, whole, whole, half, represents the distance from one interval to the next. So when I go from the numbering system here, of one, two, three, four, five, six, seven, this is only seven out of 12 notes. So what is that really doing? It's going from the one, and then a whole step to the two, and then a whole step to the three, and then a half step to the four, and so on and so forth. That's going to be that numbering system. This numbering system, I'll see it down here, this numbering system then is the same as this, because it's just going to be Roman numerals, that means one through seven, but we can make them lowercase and uppercase, which will give us an indication as to whether something is using a major chord or will be constructing a major chord or a minor chord. Now, notice not some magic thing that we have to just memorize. It's useful to memorize that the one is a major, the two is a minor, the three is a minor, the four is a major, the five is a major, the six is a minor. It's easier to memorize, I think, to say one, the one, four, five are majors, and therefore the two, three, six are minor, and then the seventh is that funny diminished. So there's three major, three minors in the diminished. But the reason that happens is because if we put our scale in a circle, these are our seven notes, the idea of our chord construction is we're just going to take every other note. If you put two notes that are right next to each other in the scale, then the idea is you might have tension. If they're too close together, you might end up with too much tension. So we're just going to take every other note. So the C is here, here, and here, and that's all we're doing, which happens to then have a construction in terms of intervals compared to the one of the first is a one, and then the third is going to be a major third, and then a fifth, which is going to be a perfect fifth. So we can start thinking about basically those intervals. But that's all we're doing to construct this. If I start on the two, then I'm just taking every other note, boom, boom, and there's the two. We can see that down here in a circle of thirds, which is just doing that. I'm just taking every other note. So here you can see this construction nice and easy. There's a C, E, and a G. There's C, E, G. That's the one. If I start on the two, E, G, and B. So there's going to be on here the E, G, and the B. And then if I start on the fifth here, we've got the G, B, and D. So there's the G, B, and D. And if I start it on the B, I have B, D, E. So you can see how that's going to basically be constructed. All right, so let's go back on over here. Now I've added, in essence, a new worksheet. So here's going to be the new, this blue one. This is our new worksheet. And the thing that's new about it here is that on the second bit, I've given us the intervals. Now, in a separate course or section, I'll show you how to construct this. I'll actually build this if you're interested in building it from an Excel standpoint. It's kind of a project. But the idea is that it's, and we'll start talking about intervals more in a future presentation. But I just want to touch on the intervals in terms of naming them, how you will often hear them conventionally named, and kind of the issues with that, which again we'll dive into in a lot more detail in future presentations. But this worksheet is comparing all of these notes. These are going to be these notes as they're compared to this note, which is going to be what we're going to say is the tonic. So everything in this worksheet is being compared to the one. And these are going to be defining, in essence, the distances. And I'll discuss possibly a little bit of that as we go through our project. Okay, so that's going to be all the numbering systems we need to keep straight. So we're going to try to go through this numbering system here where we only have five, another kind of issue. We only have five notes out of the seven, which again, we could make a whole another worksheet to work this out as one, two, three, four, five, the pentatonic numbering system. Or I'm just going to keep this one where it's the one, two, three, and then the five, six, so that we can kind of see how it fits inside of the standard major numbering system for basically Western music. All right, so then in order to get our finger in and see kind of like why we're going through the positions of this way, let's first take a look at how this C major scale will map out if it was on one string, which would be similar to how it would map out on like a piano, for example. So if I'm going from this C to this C, that would be kind of like a piano. The blue notes would be the white notes on the piano. And then we'd say, okay, if I apply my pattern, it's going to be the one whole step to the two. So I skip a note, two notes up, whole step to the three, skip a note, half step to the four, whole step to the five, whole step to the six, whole step to the seven, and then half step to the eight or back home to number one. And then you could see the same, you could repeat the same thing going basically in reverse. All right, that's useful. However, it's not likely that in a guitar, what we want to do is we want to play something like in the same box. We want to play it in the same box, typically. So then the question is, well, when if I'm going up in this pattern, can I go back down to the next string? How do I know when I can go to the next string? Well, then you can say, well, what's the distance between one string and another? And if I count that out, if I was to start on say this E and go one, two, three, four, five, I've got to go up five strings to get back to this A right here. So I'm going five steps up. We call that a perfect fourth. I won't go into the reasons on that right now, but we'll talk a little bit about that more in the intervals, but it's five notes up. Why would that be the case? Well, because if I go from here up to this G, the next note in our interval is probably going to be a whole step up. And if I was to finger this, I don't need to finger an open fret, but if this was anywhere else and I fingered it, then this would be representing four fingers. I have my pinky here, and then instead of going out here, I don't have any more fingers to reach that. We're going to go down pinky to pointer. And that's why when you go pinky to pointer, that's a whole step. So that's how you kind of want to think of it from a practical standpoint. So for example, if I'm on like this C right here, then I can go... I can go... If I'm on this C right here, my pinky is going to be on this note here. And then if I wanted to go back to the next one that would be a whole step up, it's going to be that F, right? So instead of me going up to the F reaching this way, then what I'm going to do is go down to the next string. And so I'm going to go down here, and you can see that fits in beautifully. So pinky to pointer from pinky to pointer that's why that's a whole step. So whenever you see that pinky to pointer, it's a whole step unless it's between these two strings, pinky to pointer, then it's like ring finger to pointer because there's a different distance between these two strings. So that's the kink in the tuning that we have to basically account for. If you keep that in mind, then you can count up the scale just like you would if it was on one string as you go down, up and down the fretboard because you're going to say, oh yeah, that's a whole step right there. Going from pinky to pointer is a whole step. That is unless you're between these two strings because of the kink in the tuning. So if I have my finger here on this C, then I go up to this D. I'm not going from pinky to pointer because if I go to the next one up that D, the next one is an E.  So that distance is basically going to be the whole step between those two notes. So if we keep that in mind, we can do a similar project over here. So I've basically, if you have access to this worksheet, I try to list them all out so we can move smoothly and you can kind of finger it and then just go from one tab to the next tab. So we're in basically this position up here. So this was our position, what I would call the position number one. This is going to be position number two and this is what I would call position number three, which is starting on this D if we just pick the top string. But typically we don't want to just pick the top string. Instead, we want to be looking at the C because we're thinking of ourselves in the C major scale. So I could start on this C down here, but because the C is like the last note in the prior shape, it's kind of useful often times to start there and then kind of lead into this shape. So if we look at the intervals, I'm going to say we're starting on this C, I'm going to try to basically name this out in my mind and we'll get into this in a lot more detail adding more information about intervals so you can use it as an exercise worksheet, but if you get in the practice of kind of naming these out as you pluck them in the morning, that's a good kind of exercise. So we might say something like, I'm looking at the C major scale and this is going to be and I'm going to start to name this instead of, this is a relative position what I've been calling it before so that we can make sure that it changes relative to the scale that we are in. Now I'm going to call that the first. So when I say the first, instead of just a one, the first means it's the relative position to the scale. So this is the first of the C major scale. So we're looking at a C major scale, this is the first of a C major scale which is a an actual C it has a major chord construction that we might want to add that into our mind, we can see that with the little out one here as we go through our exercise and then when I go from the first to the second you can see right here, it's a whole step it's two notes away. So I'm going from the first to the second which I'm going to say in my mind is going from note number four because I'm going to use the numbers absolute number four plus two four five six. So now I'm on note number six. Note number six is a D and therefore D I'm going to say is the second position of the C notice I'm going back here and plug in the C major scale. So that's going to be kind of like what I'll repeat in my mind as I go forward and then I might even say that the second of the C major scale has an interval from the first of what we're going to call a major second and what this is saying is it's a two note away we'll talk more about this later but it's a two note away that's what the two means major second which is another way to say it's like a two note away major second but a little bit more complex way to say it and so we can start to learn that terminology which again we'll get into in a lot more detail later and then if I go to the next tab I can also say in the second has a minor chord construction as I'm going through it right and so I could say if it was a minor chord construction moving forward just doing a bar chord like that if I wanted to say that and you might also want to put in your ear that's a major second two note away major second. As we move forward through the scale you can move all these shapes forward which is a good exercise in and of itself noting that the end goal is basically to be able to do this in our mind as we move our finger through it I also have the adjustments down below if you want to do it that way but on this particular worksheet I also made tabs to the right so we could just tab to the right as we go through the different positions within the scale so what I'm going to do is just tab to the right and now we're going from this D to this E that's our starting point this is our ending point so I can say okay now I'm going to move my finger up from here to this D position I'm in shape and I'm going to say this is going to be the second of a C major pentatonic scale this is going to be the third of the C major pentatonic scale and then I'll repeat that saying I'm going from note number six to note number eight and then I'll say that note number eight is an E and therefore E is the third of a C major scale and then I'm going to say that or pentatonic in any third of the C major pentatonic scale is going to have an interval of what I would call a four note away major third so four note away that's what that four stands for major third is another way to say that it's basically four notes away we can see that because if we use our numbering system here we're at eight minus four is four you can also see that from the distance from the tonic the C is two plus two or the four notes away we also note that I can see that this would be a minor chord construction so the three of a major scale has a minor chord construction and then I would go from the three to the four and so I'm just going to go to the next tab now notice it skipped the four because that's the interval that we skip when we're looking at a pentatonic so we skipped the four and we're basically going from then the E up top to the G so we're going from the E to the G and we skipped basically the F which would be a half step away right here so so that means that the full distance that we went on from a pentatonic standpoint is going to be the one and the three we basically went three notes away rather than taking the half step one note away and then going two notes up because we eliminated all the half steps in our pentatonic scale so then I'm going to say well then the distance between the three and the five is going to be a three note away distance and then I'm still going to call this a five even though if I think of it as a pentatonic scale five note scale it would be the four right this is where it gets messy in the numbering systems but I'm going to see it in relation to the major chord on the major scale because that's the primary scale that we compare everything to so I'm going to still call that like the five and we skipped the four in our pentatonic construction and I'm going to say okay well the fifth of a major scale and therefore let's say this so I'm going from note number E to note eight to note number eleven note number eleven is a G and therefore G is the fifth of a C major scale and we know that the fifth of a major scale has a major chord construction and we can see that with the uppercase here and we know that the fifth of a major scale has an interval of a seven note away perfect fifth because it would be two plus two plus one plus two that's going to be adding up to the seven and it's going to be a perfect fifth meaning if I play that interval it would be a perfect fifth so we name seven notes away is a perfect fifth and we'll get into more interval naming technology or ideas later but there we are there and then we're going to go from the fifth here to the sixth so I'm going to go from the fifth of a C major scale or C major pentatonic to the sixth of a C major pentatonic scale which is going from note number eleven to note number one because it goes note number eleven twelve and then around the horn to one and then I'm going to say okay that's two notes away from the fifth to the sixth which I can see here and that's a whole step and I know that the sixth of a C major scale therefore is an A and the sixth of a C major scale has a minor chord construction which I could build like that because I can see with the lower case right there and the sixth of a C major scale has an interval follows to reach that of a nine note away major six that's what it means to be a major six nine note aways and then you can practice your ear training by trying to hit those two notes the C and the A that's the interval the distance we'll talk more about intervals later okay so now I'm going from the five of the six of the pentatonic scale skipping the seven so here's the six normally we would be going to the seven which would be a B but we're skipping that and we're going to be moving then to the C so we're going boom boom and instead of that being then a two note away to go to the B and then a one note away we're basically taking a three note step there to kind of avoid that half step interval in essence is what we're basically eliminating by doing that so we're going then from note number one up three which is going to be two three four to note number four is a C and therefore C is the twelve note away octave of the C major scale or pentatonic scale so if I play those together that's going to be our octave and I know that the one of a C major or pentatonic scale has a major chord construction of course so then we can keep on repeating that process and say now I'm going to start at this one and then I'm going to move up to here so I'll keep moving up and do the same thing so now I'm going from the first of the C major or pentatonic scale here to the second of a C major or pentatonic scale which I know back to the top again is a whole step and then I'm going to say that I'm going from note number C to note I mean note number four up to note number six and note number six is a D and therefore D is the second of a C major or pentatonic scale and I know the second of a C major or pentatonic scale has a minor chord construction so I'll just kind of repeat that in my mind as I go through it you might want to like see if you can finger it right so there's multiple different ways that we can finger it but one way is to start to lean forward when you're going through it so you could finger each of the shapes minor chord construction and the second of a C major or pentatonic has an interval of a two note away major second which I'm now going to try to train my ear it sounds like this so I'm trying to do all that at one time you know as we go through and walk through our scale so I'm going to go okay then we're going to go from the second to the third so I'm going to go from the second which is here to the third so that's going to be a whole step so I'm going to go boom boom and that makes sense that it's a whole step because I'm going basically from pinky to pointer right now right so instead of going up here two notes up pinky to pointer I know that in my mind is a whole step when I go from pinky to pointer so I'm going to go from note number six seven eight so two notes up note number eight is an E and therefore E is the third of a C I can see my C is right there above it a C major or pentatonic scale and any third has a minor chord construction so you can think about how you can make a minor there's I'll just say it in my mind it has a minor chord construction and we know that the third of a C major or pentatonic has an interval of a four note away major third so it's a four note away major third we can see that because the two plus two is the four or we can see it because we know that eight minus four is four right so we're going to say and that so here's what that interval sounds like if you put your finger on the C and then you ring out the E so I'm trying to get my ear training and as I see that I can now start to see that oh yeah that's a major third I hope I didn't say minor it's a major third and then I go to the next one so now I'm going to go from three skipping the four to the fifth because we're looking at the pentatonic and we can see clearly kind of the interval now instead of going from the three to the four which would be a half step we're skipping the half step which means we're doing three steps away right so we're going from basically the three skipping the four to the five which is three notes away for our major pentatonic we're going from note number eight to note nine ten eleven note number eleven note number eleven is a G and therefore G is going to be the fifth I'm thinking about five notes from the seven even though I'm thinking about a five note pentatonic I'm thinking about seven notes in the major scale we're playing five out of the seven that's how I typically think of it so I'm still on the fifth and I removed the four and the seven the fifth of a C major scale has a major chord construction so then you could make a major chord from it if you want I'll just note it here and the fifth of a C major scale has an interval of as we can see here a seven note away we call that a perfect fifth so it's a perfect fifth seven note away a perfect fifth we can see it's seven notes away cause two four five six seven here or if we use our numbers on terms of the notes eleven minus four is going to be the seven if I want to see what a seven note away perfect fifth sounds like I can play these two notes and you can see that shape you can start to see that oh that's a perfect fifth shape typically that's the power chord and so then we can go from the relative position five to relative position six which is going to be a whole step and I can see now I'm going from note number eleven to twelve one now there's a whole step that's not going from pinky to pointer because we have the kink in the tuning here so the kink in the tuning down here we're going from note number eleven twelve back to one note number one is an A and therefore A is going to be the sixth of a C major or pentatonic scale and the A has a minor chord construction as I can see with the lowercase letters here and the sixth of a major scale has an interval of a nine note away major six that's what a major six means nine total notes away so what does that sound like so you can start to train your ear to say okay that's a nine note away major six alright so then we're going to go from the six to the seven so now we're going our back to the one I should say so we're going because we're on the pentatonic so we're on the six we skipped the seven which would be two notes away and then we went to the eighth which is one note away so we're doing a three note away back to the eight or home so we're going from note number one two three four which is going to go back to basically the home so now we're back on note number four note number four is a C and therefore we know that C is the twelve note away octave because we're back home and then of course you can do this in reverse we're running kind of long so I won't do it too much longer but if I was here let's start like at this one where we ended off on last time so if we're on this C so if we went we went one two so if we're basically here we went one two three four five six or one so now we're going from this C down to this C we can see this C as the first or we can see it as the eighth there's only seven notes but sometimes it's useful to count it as the eighth so that we can count it backwards notice that I'm using it as an eight as though I'm thinking of it as a seven note major scale even though we're looking at a five note pentatonic because I'm trying to relate it to what's going to be fitting inside of the major scale so I'm going to think of it as an eight and then I skip the seven so I'm not going back to the seventh because we're going to be going to the sixth that means that we would have this one and then two so it's going to be three notes away so I'm going from this C the eighth of the C major or pentatonic scale down to note number one which is three notes down four minus three is going to give us the one note number one is an A and therefore A is going to be the sixth of the C major scale which I'm hitting down here to be able to see it we know that the sixth of the C major scale has a minor chord construction by this letter right here and we know that the sixth of the C major or pentatonic scale has an interval of a nine note away major six and now I'm going to try to sound it out this way I'm hitting the bottom note first now notice that sounds a little bit different because I'm hitting I'm going from this C to here instead of going going this way right so that you have the same notes but it's different in terms of which one's the low note right so we'll talk more about the intervals in detail in a future presentation but then we can go back so now we're going from the sixth back to the fifth so we're going to go from the sixth of the C major or pentatonic scale back to the fifth of the C major or pentatonic scale which we can see is a whole step and we're going from note number one down to note number 11 because it goes 12 and then back around the horn so 12 and then 11 note number 11 is a G and therefore G is going to be the fifth of a C which is the one below it a C major or pentatonic scale I know that the fifth of a major scale has a major chord construction which I can see here and I know that the interval of the fifth of a major or pentatonic scale is a seven note away perfect fifth which I'm now going to play the bottom note first try to say okay that sounds right if I do it this way and try to train my ear to hear those intervals and then I can go from the fifth down to the third so now we're on the fifth here with the G going down to the third because we're going to be skipping the fourth so it's going to be three notes away so I'm going from the G minus three so 11 minus three is going to give us down to the 8, 11, 10, 9, 8 note number 8 is a E and therefore E is going to be the third of a C major scale or pentatonic scale and we know that the third of a major or pentatonic scale has a minor chord construction as we can see with this three right here that's a lower case and we also know that the third of a major scale has a three note away and a four note away which we can see right here a four note away major third sounds like this and then I can go from the third back to the second so now I'm going from the third where was I on the E and then going back to the second is a whole step so I'm going from note number 8 to note number 6 is a D and therefore D is going to be the second of this C major scale and a second of a major scale has a minor chord construction which I can see there and the second of a C major scale has an interval of a two note away major second so you can play it like that or right and then we can finally go back to from the second to the first so now we're going to go from the second to the first so going from the second of the C major pentatonic scale to the first of the C major pentatonic scale is a whole step going from note number 6 to note number 4 note number 4 is a C and therefore you know C is the first of the C major or pentatonic scale which has a major chord construction and we're talking about a 12 note away perfect 12 note away perfect first octave so you can see how you can that's a little tedious to do that clearly but if you can pack as much like information as you can with all these intervals and the chord constructions as you walk through the scale like in the mornings then you can pick any of those things you want to kind of focus on and repeat that process now you can do the same thing like with the minor here with the A minor but obviously this whole worksheet is set up in orientation to the major remember that this pentatonic fits perfectly into the major and the relative minor the other ones you got to tweak a little bit in order to fit them in there because they're going to use notes in their chord constructions that are using these missing notes right so the pentatonic fits into these two so if you wanted to you can go to like this worksheet and just do the same thing looking for the this is the major which means it's the 6th and then if I hide over here to the minor hid and you want to look at it in the minor which is just a mode of the major then you can take this worksheet and basically do the same thing using the minor so now the 6th is now the 1 and basically count through the intervals of a minor chord construction which of course is a little bit different because you're starting on the 1 so if you think about the steps which we'll talk more about when we get to intervals later but in modes and stuff but the minor because minor is so prevalent then you might want to do it from the minor too when you think of this pentatonic scale you think of it as the major and the minor and then you can think what about all the other modes what about if I want to do like a Dorian mode or a Phrygian mode or a Lydian or Mixolydian well then some people will actually take the pentatonic and add the missing element so you can still think of everything in terms of pentatonic if you want and then add the note that's going to be important that you're missing whenever you're playing in a different mode other people like myself typically tend to think more of in a major scale and eliminate the notes that take you back to the minor scale


My name is Sam Bhatni. I am the author of Malignant Self-Lover and Narcissism Revisited. Repeated abuse has long-lasting and pernicious and traumatic effects such as panic attacks, hypervigilance, sleep disturbances, flashbacks, intrusive memories, suicidal ideation, and psychosomatic symptoms. The victims experience shame, depression, anxiety, embarrassment, guilt, humiliation, abandonment, and an enhanced sense of vulnerability. Complex PTSD, complex post-traumatic stress disorder, has been proposed as a new mental health diagnosis by Dr. Judith Herman of Harvard University to account for the impact of extended period of repeated trauma and abuse. In an article titled, Stalking and Overview of the Problem, published in the Canadian Journal of Psychiatry in 1998, the authors Karen Abrams and Gail Robinson wrote, Initially, there is often much denial by the victim. Over time, however, the stress begins to erode the victim's life and psychological brutalization results. Sometimes the victim develops an almost fatal resolve that inevitably, one day, she will be murdered. Victims unable to live a normal life describe feeling stripped of self-worth and dignity. Personal control and resources, psychosocial development, social support, premorbid personality traits, and the severity of the stress may all influence how the victim experiences and responds to it. Victims stalked by ex-lovers may experience additional guilt and lowered self-esteem for perceived poor judgment in their relationship choices. Many victims become isolated and deprived of support when employers or friends withdraw after also being subjected to harassment or when they are cut off by the victim in order to protect them. Other tangible consequences include financial losses from quitting jobs, moving and buying expensive security equipment in an attempt to gain privacy. Changing homes and jobs results in both material losses and a loss of self-respect. Surprisingly, verbal, psychological and emotional abuse have the same effects as the physical variety, at least according to psychology today, the September-October 2000 issue. Abuse of all kinds also interferes with the victim's ability to work. Abrams and Robinson wrote in an article titled Occupational Effects of Stalking, published again in the Canadian Journal of Psychiatry 2002. Being stalked by a former partner may affect a victim's ability to work in three ways. First, the stalking behaviors often interfere directly with the ability to get to work, for instance, flattening tires or other methods of preventing leaving home. Second, the workplace may become an unsafe location if the offender decides to appear there. Third, the mental health effects of such trauma may result in forgetfulness, fatigue, lowered concentration and disorganizations. These factors may lead to the loss of employment, with accompanying loss of income, security and status. Still, it is hard to generalize. Victims are not a uniform plot. In some cultures, abuse is commonplace and accepted as a legitimate mode of communication, sign of love even and caring, and a boost to the abuser's self-image. In such circumstances, the victim is likely to adopt the norms of her society and thus avoid serious trauma. Deliberate, cold-blooded and premeditated torture has worse and longer lasting effects than abuse meted out by the abuser in a fit of rage and loss of self-control. The existence of a loving and accepting social support network is another mitigating factor. Finally, the ability to express negative emotions safely and to cope with them constructively is crucial to healing. Typically, by the time the abuser reaches critical and all-pervasive proportions, the abuser had already, spider-like, isolated his victim from family, friends and comics. She is catapulted into a Netherlands, kind of a cult-like setting where reality itself dissolves into a continuing nightmare.  In an effort to regain perspective and avoid embarrassment, the victim denies the abuse and minimizes it. No wonder if survivors of abuse tend to be clinically depressed, neglect their health and personal appearance and even personal hygiene, and succumb to boredom, rage and impatience. Many end up abusing prescription drugs or drinking or otherwise behaving recklessly. Some victims even develop full-fledged, post-traumatic stress disorder.