Scale Wailer

11 scales · chord library · technique drills · full practice system
70
bpm
4
E Minor Pentatonic
Open Position
The essential rock and blues scale. Open-position box — comfortable, sounds great clean or with gain.
E · G · A · B · D
0
1
2
3
e
0
3
B
0
3
G
0
2
D
0
2
A
0
2
E
0
3
Root (E)
Scale tone
Ascending & Descending
e|--0--3--------------------------3--0--|
B|--------0--3--------------3--0--------|
G|--------------0--2----2--0------------|
D|------------------0--2----------------|
A|------------------0--2----------------|
E|--0--3--------------------------3--0--|
A Minor Pentatonic
5th Fret · Box 1
Most-played rock scale shape. Same pattern at fret 5 — fully moveable, no open strings.
A · C · D · E · G
5
6
7
8
e
5
8
B
5
8
G
5
7
D
5
7
A
5
7
E
5
8
Root (A)
Scale tone
Ascending & Descending
e|--5--8--------------------------8--5--|
B|--------5--8--------------8--5--------|
G|--------------5--7----7--5------------|
D|------------------5--7----------------|
A|------------------5--7----------------|
E|--5--8--------------------------8--5--|
A Minor Blues Scale
5th Fret · Blue Note
A minor pentatonic plus the ♭5 "blue note" (E♭). Transforms rock into blues. Bend into it, slide through it.
A · C · D · E♭ · E · G
5
6
7
8
e
5
8
B
5
8
G
5
7
8
D
5
7
A
5
6
7
E
5
8
Root (A)
Scale tone
Blue note
Ascending & Descending
e|--5--8------------------------------8--5--|
B|--------5--8------------------8--5--------|
G|--------------5--7--8----8--7--5----------|
D|---------------------5--7------------------|
A|---------------------5--6--7---------------|
E|--5--8------------------------------8--5--|
C Major Scale
Open Position
Foundational major scale — no sharps or flats. Wider stretches build finger independence.
C · D · E · F · G · A · B
0
1
2
3
e
0
1
3
B
0
1
3
G
0
2
D
0
2
3
A
0
2
3
E
0
1
3
Root (C)
Scale tone
Ascending & Descending
e|--0--1--3--------------------------3--1--0--|
B|------------0--1--3----------3--1--0---------|
G|--------------------0--2--2--0---------------|
D|--------------------0--2--3------------------|
A|------------------0--2--3--------------------|
E|--0--1--3--------------------------3--1--0--|
G Major Scale
Open Position
Guitar-friendly major key. Covers all six strings. Pairs with G, C, D, Em chords.
G · A · B · C · D · E · F#
0
1
2
3
4
e
0
2
3
B
0
1
3
G
0
2
4
D
0
2
4
A
0
2
3
E
0
2
3
Root (G)
Scale tone
Ascending & Descending
e|--0--2--3-------------------------------3--2--0--|
B|------------0--1--3---------------3--1--0---------|
G|----------------------0--2--4--2--0---------------|
D|----------------------0--2--4--------------------|
A|--------------------0--2--3----------------------|
E|--0--2--3-------------------------------3--2--0--|
G Major Pentatonic
Open Position
Bright, happy cousin of the minor pentatonic. Country licks, classic rock, upbeat melodies.
G · A · B · D · E
0
1
2
3
4
e
0
3
B
0
3
G
0
2
4
D
0
2
A
0
2
E
0
3
Root (G)
Scale tone
Ascending & Descending
e|--0--3------------------------------3--0--|
B|--------0--3------------------3--0--------|
G|--------------0--2--4----4--2--0----------|
D|---------------------0--2------------------|
A|---------------------0--2------------------|
E|--0--3------------------------------3--0--|
D Minor Pentatonic
10th Fret · Box 1
Pentatonic box at the 10th fret. Closer frets, sweeter Strat tone up here. Builds neck navigation.
D · F · G · A · C
10
11
12
13
e
10
13
B
10
13
G
10
12
D
10
12
A
10
12
E
10
13
Root (D)
Scale tone
Ascending & Descending
e|--10--13-----------------------------13--10--|
B|-----------10--13---------------13--10--------|
G|--------------------10--12--12--10------------|
D|------------------------10--12----------------|
A|------------------------10--12----------------|
E|--10--13-----------------------------13--10--|
E Minor Blues Scale
Open Position · Blue Note
The open-position blues scale — pairs with your E Minor Pentatonic and adds the ♭5 (B♭). Perfect for open-string blues riffs and bends you can feel in your bones.
E · G · A · B♭ · B · D
0
1
2
3
e
0
3
B
0
3
G
0
2
3
D
0
2
A
0
1
2
E
0
3
Root (E)
Scale tone
Blue note
Ascending & Descending
e|--0--3-----------------------------3--0--|
B|--------0--3-----------------3--0--------|
G|--------------0--2--3----3--2--0---------|
D|---------------------0--2----------------|
A|---------------------0--1--2-------------|
E|--0--3-----------------------------3--0--|
A Natural Minor
Open Position · Full Scale
The full 7-note minor scale — your A Minor Pentatonic plus two extra notes (B and F). Shows how the pentatonic lives inside the complete scale. Same notes as C Major, different root — that's relative major/minor in action.
A · B · C · D · E · F · G
0
1
2
3
e
0
1
3
B
0
1
3
G
0
2
D
0
2
3
A
0
2
3
E
0
1
3
Root (A)
Scale tone
Ascending & Descending
e|--0--1--3--------------------------3--1--0--|
B|------------0--1--3----------3--1--0---------|
G|--------------------0--2--2--0---------------|
D|--------------------0--2--3------------------|
A|------------------0--2--3--------------------|
E|--0--1--3--------------------------3--1--0--|
C Major Pentatonic
Open Position
The 5-note version of C Major — strips out the F and B, leaving only the "safe" notes. Impossible to sound bad over a C, F, or G progression. A great bridge between pentatonic and full major thinking.
C · D · E · G · A
0
1
2
3
e
0
3
B
1
3
G
0
2
D
0
2
A
0
3
E
0
3
Root (C)
Scale tone
Ascending & Descending
e|--0--3--------------------------3--0--|
B|--------1--3--------------3--1--------|
G|--------------0--2----2--0------------|
D|------------------0--2----------------|
A|------------------0--3----------------|
E|--0--3--------------------------3--0--|
B Minor Pentatonic
7th Fret · Box 1
The pentatonic box at the 7th fret — sitting right between your A minor (5th) and D minor (10th) positions. Fills the gap in your neck map and puts you in prime Strat territory for expressive bends.
B · D · E · F# · A
7
8
9
10
e
7
10
B
7
10
G
7
9
D
7
9
A
7
9
E
7
10
Root (B)
Scale tone
Ascending & Descending
e|--7--10-----------------------------10--7--|
B|-----------7--10---------------10--7-------|
G|--------------------7--9----9--7-----------|
D|------------------------7--9---------------|
A|------------------------7--9---------------|
E|--7--10-----------------------------10--7--|
Daily Practice Template
1
Warm-Up: Chromatic Stretches
3 min60 BPM
Frets 1-2-3-4 on each string, one finger per fret, low E to high e and back. Alternate picking. Clean fretting, even timing.
2
Primary Scale — Slow & Clean
5 min60–70 BPMFocus
Day's primary scale ascending and descending. One note per click. Zero fret buzz. Once comfortable, two notes per click. Emphasize roots.
3
Secondary Scale — Reinforcement
5 min65–75 BPM
Day's secondary scale from earlier in the week. Goal is repetition and muscle memory. Close your eyes for the last few runs.
4
Chord Workout - Changes & Strumming
4 minChords
Two rounds of One-Minute Changes on the day's chord pair (see the Weekly tab), then two minutes looping the same chords with a strum pattern from Technique Drills. Keep the strumming arm moving while you change.
5
Theory Minute — Say the Notes
3 minTheory
Play one scale slowly saying each note name out loud. Builds the ear-brain-finger connection.
6
Free Jam — Backing Track
5–10 minAny
YouTube backing track in the key of your primary scale. Short 3-4 note phrases with space between them. Some days, strum the progression instead and be your own backing track.
Total Daily Practice
25–30 minutes
Session Tips

Always alternate pick. Use the metronome above — it stays running as you navigate. Bump up 5 BPM when comfortable. 20 focused minutes daily beats a sporadic 2-hour binge.

Weekly Rotation

Each day pairs a primary scale (focus) with a secondary scale (review), plus a chord assignment for the daily Chord Workout slot.

MON
Minor Pentatonic Foundation
Build the backbone. These two shapes are the most important.
E Minor PentA Minor PentChords: Em-Am changesJam: Em
TUE
Blues Day
Introduce the blue note. Slide and bend into the ♭5.
A Minor BluesE Minor PentChords: E7-A7-B7Jam: Am blues
WED
Major Scale Theory
C major stretches build finger independence. Say note names out loud.
C MajorA Minor PentChords: C-G changesJam: C major pop
THU
Neck Navigation
Push to the 10th fret. Same shape, different feel.
D Minor PentA Minor BluesChords: D-A + sus shuffleJam: Dm
FRI
Major Pentatonic & G Major
Bright, happy sounds. Country-tinged licks and upbeat rock.
G Major PentG MajorChords: G-C-D loopJam: G major rock
SAT
Full Review + Extended Jam
All 7 scales once, then jam. Try switching scales mid-song, and strum a full progression loop between runs.
All 7 × 2 runsChords: loops + F barre repsExtended jam: 15 min
SUN
Rest day — noodle unplugged. No metronome, no structure.
Backing Tracks

YouTube: "[key] [style] backing track." Elevated Jam Tracks, QuistJam, and Let's Play Guitar are solid free channels.

4-Week Progression

Basic shapes to confident improvisation. Follow the weekly rotation within each week's guidelines.

WEEK 1
Foundation — Learn the Shapes
♪
Scales: E Minor Pent, A Minor Pent, C Major only.
↑
Tempo: Start 60. End of week: 70–75 BPM.
◆
Theory: Identify root notes. Say "root" when you land on one.
♫
Chords: Em, Am, E. One-Minute Changes daily: Em-Am, then Am-E.
★
Jam: 5 min daily, slow Em or Am backing track.
Milestone: All 3 scales ascending + descending without stopping at 70 BPM · 30 clean Em-Am changes in one minute
WEEK 2
Expand — Blues & Major
♪
Add: A Minor Blues, G Major, G Major Pentatonic.
↑
Tempo: Week 1 scales at 80. New scales start 60, work to 70.
◆
Theory: Say all note names on C Major and G Major.
♫
Chords: Add C and G, plus the blues trio E7, A7, B7. Strum the 12-bar in E daily.
★
Jam: Blues scale over 12-bar blues. Bend the blue note.
Milestone: Convincing bend on the ♭5 blue note · 12-bar blues in E from memory
WEEK 3
Navigate — Up the Neck
♪
Add: D Minor Pent (10th fret). All 7 now in rotation.
↑
Tempo: Pentatonics 85–90. Majors 75–80. D minor pent starts 65.
◆
Theory: Am pent (fret 5) and Dm pent (fret 10) are the same shape. Slide between.
♫
Chords: Add D and A, then first F barre reps: the doo-wop loop, slow.
★
Jam: Switch positions mid-backing track.
Milestone: Smooth shift between 5th and 10th fret positions · one clean-sounding F barre
WEEK 4
Express — Make Music
♪
All 7 in rotation. Cut warm-up to 2 min.
↑
Tempo: Pentatonics 95–100. Majors 85. Feel over speed.
◆
Theory: G Major Pent = E Minor Pent notes (relative major/minor).
♫
Chords: Sus and add9 colors. All four Progression Loops, switching strum patterns mid-loop.
★
Jam: 15 min. Phrasing. Record yourself.
Milestone: Record a 2-minute improvisation you're happy with · one full loop without the strumming arm ever stopping
After Month 1

7 shapes in muscle memory, a dozen chords under your fingers, neck navigation, real improv. Next: Box 2 pentatonic, moveable barre shapes up the neck, learning songs. Foundation built — mileage time.

Finger Independence & Strength
The Chromatic Crawl
Beginner60 BPM
One finger per fret (index=1, middle=2, ring=3, pinky=4), ascending every string. Keep fingers hovering close — no flying pinky.
Ascending
e|---------------------------------------------1--2--3--4--|
B|----------------------------------------1--2--3--4--------|
G|-----------------------------------1--2--3--4-------------|
D|--------------------------1--2--3--4----------------------|
A|--------------------1--2--3--4----------------------------|
E|--1--2--3--4----------------------------------------------|
Once clean at 60, shift the whole pattern up one fret (2-3-4-5) and repeat. Work to the 12th fret.
The Spider
Beginner50–60 BPM
Forces independent movement across strings. Fastest way to kill lazy pinky syndrome.
Diagonal crawl
e|----------------------------5--6--7--8--|
B|---------------------5--6--7--8---------|
G|----------------5--6--7--8-------------|
D|-----------5--6--7--8------------------|
A|----5--6--7--8-------------------------|
E|--5--6--7--8---------------------------|
Each finger moves to the next string before the previous finger lifts. Keep all four down as long as possible.
Trill Drill
Intermediate80–120 BPM
Hammer-ons and pull-offs for each finger pair. 30 seconds per pair before moving on.
All six finger pairs on B string
Pair 1-2:  B|--5h6p5h6p5h6p5h6--|  (index + middle)
Pair 1-3:  B|--5h7p5h7p5h7p5h7--|  (index + ring)
Pair 1-4:  B|--5h8p5h8p5h8p5h8--|  (index + pinky) ← hardest
Pair 2-3:  B|--6h7p6h7p6h7p6h7--|  (middle + ring)
Pair 2-4:  B|--6h8p6h8p6h8p6h8--|  (middle + pinky)
Pair 3-4:  B|--7h8p7h8p7h8p7h8--|  (ring + pinky)
The 1-4 pair is where most beginners struggle. If you nail this, your fretting hand is solid.
The Stretch Builder
Intermediate50–60 BPM
5-fret reach starting at fret 7, shifting down. Stop if you feel pain — discomfort ok, pain not.
Shift down each round
Start fret 7:  e|--7--8--9--10--11--10--9--8--7--|
Start fret 5:  e|--5--6--7--8---9---8--7--6--5--|
Start fret 3:  e|--3--4--5--6---7---6--5--4--3--|
Start fret 1:  e|--1--2--3--4---5---4--3--2--1--| ← widest
At fret 1 your fingers span ~4 inches. Clean here = easy everywhere else.
String Skip Precision
Advanced60–80 BPM
Jump over strings for picking accuracy. Strict alternate picking.
Skip one string
e|--------5--8--------5--8--------|
B|---------------------------------|
G|--5--7--------5--7--------------|
D|---------------------------------|
A|--------5--7--------5--7--------|
E|--5--8--------5--8--------------|
Translates directly to creative scale runs. Clean string skipping = unpredictable, interesting solos.
Strumming Patterns

Practice with Em (two fingers, full strum). D = down, U = up, x = miss (arm moves but doesn't contact).

All Downstrokes
Start Here70 BPM
Four even downstrokes. Keeping perfectly even time is harder than it sounds.
Count:
1
2
3
4
Strum:
D
D
D
D
Arm moves like a pendulum from the elbow, not the wrist. This motion drives everything that follows.
Down-Up Eighth Notes
Beginner70 BPM
Key insight: your arm never stops moving. Down on the beat, up on the "and."
Count:
1
&
2
&
3
&
4
&
Strum:
D
U
D
U
D
U
D
U
Count out loud: "one-and-two-and-three-and-four-and." Your voice is a metronome.
The Campfire Pattern
Beginner80 BPM
Most universally useful pattern. Works for hundreds of songs. D-U-x-U-D-U-x-U.
Count:
1
&
2
&
3
&
4
&
Strum:
D
U
x
U
D
U
x
U
The missed downstrokes on 2 and 4 give it the laid-back feel. Once this clicks, you'll hear it everywhere.
Rock Driving Pattern
Intermediate90–110 BPM
Heavy downstrokes with syncopated upstroke on "and-of-4." Accent 1 and 3 hard.
Count:
1
&
2
&
3
&
4
&
Strum:
D
x
D
x
D
x
D
U
That final U propels you into the next measure. Try with power chords for instant rock.
Reggae Offbeat
Intermediate75 BPM
Only the upbeats. Mute strings slightly. Forces you to internalize where the beat is without playing on it.
Count:
1
&
2
&
3
&
4
&
Strum:
x
U
x
U
x
U
x
U
No rushing, no dragging = solid internal clock. Switch between this and Campfire every 4 bars.
Funky Sixteenths
Advanced70–85 BPM
Arm moves in sixteenths. Count: 1-e-&-a. Muted x beats = percussive chucka-chucka.
Count:
1
e
&
a
2
e
&
a
Strum:
D
x
D
U
x
U
D
x
Start SLOW. 70 BPM sixteenths feel fast. Strat neck/middle position is perfect for this.
Golden Rule

Your strumming arm NEVER stops its pendulum. Every pattern = choosing which swings make contact. Practice the arm first without a guitar — tap your thigh.

Scale Application Drills

Break out of straight up-and-down. Turn scale knowledge into musical vocabulary.

Thirds Sequence — Am Pent
Beginner60 BPM
Up two, back one. Creates a melodic pattern that sounds musical instead of like an exercise.
A Minor Pentatonic in thirds
e|-----------------------------------------5--8--|
B|-------------------------------5--8--5--8------|
G|--------------------5--7--5--7-----------------|
D|-----------5--7--5--7--------------------------|
A|--5--7--5--7-----------------------------------|
E|--5--8--5--8-----------------------------------|
Try it descending too. Then apply the same pattern to E Minor Pentatonic open position.
Four-Note Groupings — C Major
Intermediate55–65 BPM
Four ascending notes, start one note higher, four more. Creates smooth flowing runs.
C Major in groups of 4
E|--0--1--3-----------------------------------------|
A|--0--------0--2--3--------------------------------|
D|------------------0--2--3-------------------------|
G|--------------------------0--2--------------------|
B|----------------------------0--1--3---------------|
e|----------------------------------0--1--3---------|
One of the most common patterns in rock solos. Clean notes first, speed later.
Essential Blues Lick Shapes
Intermediate65–80 BPM
Five reusable building blocks from the A Minor Blues scale. Chain them in different orders = instant blues solo.
5 licks to memorize
1 — Bend & Release:    B|--8b10--8--5--|  G|--7--5--|
2 — Turnaround:        e|--5--8--5--|  B|--8--5--|  G|--7--|
3 — Blue Note Slide:   G|--5s6--7--5--|  D|--7--|
4 — Root Hammer:       A|--5--7h8p7--5--|  E|--5--|
5 — Call & Response:   e|--5--8--5--|  B|--8--5--|  G|--5--7--5--|
Chain random pairs: Lick 2 → 4 → 1. Leave a beat between each. Use over Am blues track with DD-8 on Warm.
Position Shift — Fret 5 to 10
Advanced60–70 BPM
Connect Am Pent (5) to Dm Pent (10). The slide on G is the bridge. Break out of the box.
Ascending through two positions
Am Pent (fret 5):          Slide bridge:       Dm Pent zone (fret 10):
E|--5--8--|                                     E|--10--13--|
A|--5--7--|                                     A|--10--12--|
D|--5--7--|                                     D|--10--12--|
G|--5--7s9--| ← slide →    G|--9--10--12--|
The slide is the "secret door" between positions. This separates boxed-in players from neck owners.
Double Stop Drill
Intermediate65 BPM
Two notes on adjacent strings simultaneously. Thickness and attitude — Chuck Berry / Keith Richards.
Am Pentatonic double stops
e|--5-----8-----5-----8--|
B|--5-----8-----5-----8--|

B|--5-----8-----5-----8--|
G|--5-----7-----5-----7--|

G|--5-----7-----5-----7--|
D|--5-----7-----5-----7--|
Sound killer on a Strat through DD-8 +Reverb. Slide into each pair from one fret below for swagger.
Progress Path

Build exercises into your daily routine. Each level = one comfortable week before advancing.

1
Week 1 — Foundation Mechanics
Fingers: Chromatic Crawl + Trill pairs 1-2, 1-3
Strumming: All Downstrokes + Down-Up Eighths
Scales: E & A Minor Pent straight runs
Goal: Clean notes at 70 BPM, steady eighth-note strumming
2
Week 2 — Coordination
Fingers: Spider + all 6 Trill pairs + Stretch (fret 7)
Strumming: Campfire + Rock Driving
Scales: Thirds Sequence in Am Pent
Goal: Campfire on autopilot, clean trills all pairs
3
Week 3 — Expression
Fingers: String Skip + Stretch (fret 3)
Strumming: Reggae Offbeat + switch patterns every 4 bars
Scales: All 5 Blues Licks + Double Stops
Goal: Chain 3 licks over a backing track
4
Week 4 — Integration
Fingers: Full warm-up (Chromatic + Spider + Trills in 5 min)
Strumming: Funky Sixteenths + free switching
Scales: Four-Note Groupings + Position Shift fret 5→10
Goal: 2-min improv with licks, shifts, and double stops
How to Use These

Add 5–8 min of technique drills after your warm-up. One finger exercise + one strum pattern per session. Rotate across the week like scales. Scale drills replace free jam 1–2x per week to build vocabulary.

Open Major Chords

Dot numbers are fretting fingers: 1 index, 2 middle, 3 ring, 4 pinky. Above the nut: o = open string rings, x = don't play that string. Tap any chord to hear it strummed.

Root note
Chord tone
Open Minor Chords
Fretting Checklist

Fingertips just behind the fret wire, not on top of it. Thumb behind the neck. Curl fingers so open strings can ring. Strum once, then pick each string one at a time: every note should sound clean.

Dominant 7ths The Blues Chords

Add a gritty, unresolved flavor - the sound of the blues. E7, A7 and B7 are the three chords of a 12-bar blues in E, the perfect backdrop for your E minor pentatonic and blues scales.

12-Bar Blues in E
ProgressionShuffle Feel
The most important progression in popular music. One chord per bar, four beats each. Loop it, then have a friend (or a recording of yourself) solo over it with the E minor blues scale.
One chord name per bar
| E7 | E7 | E7 | E7 |
| A7 | A7 | E7 | E7 |
| B7 | A7 | E7 | B7 |
Play it with all downstrokes first, then try the Campfire pattern from the Strumming tab.
Easy Sevenths Maj7 & m7

Softer, jazzier cousins of the open chords. Most are a basic shape with a finger lifted or moved, so they double as fingering practice for the chords you already know. Swap one into any progression for instant sophistication.

Sus & Add Embellishments

Sus chords swap the middle of the chord for a neighbor note, creating tension that resolves when you return to the plain chord. This is the move that makes strummed chords sound like music instead of exercises.

The Sus Shuffle
Beginner70 BPM
One bar each, round and round: D - Dsus4 - D - Dsus2. Only the top of the chord moves; the strumming arm never stops. Then the same idea on A: A - Asus4 - A - Asus2, and E: E - Esus4 - E.
This move is all over acoustic rock. Once it feels easy, sprinkle it into the Progression Loops in Change Drills.
Barre Chords

One finger presses across the whole fret (the barre), and the other fingers form a familiar open shape behind it. The payoff: every barre shape is moveable - slide it up two frets and you have a new chord. Expect buzzing at first; it fades within a couple of weeks.

Power Chords

Root and fifth only - neither major nor minor, just attitude. The backbone of rock and punk. Mute the unused strings by letting your index finger lean against them.

Barre Survival Guide

Roll the index finger slightly onto its bony edge, place it right behind the fret wire, and squeeze with the thumb directly behind it. If a string buzzes, don't press harder everywhere - find WHICH string buzzes and adjust just that spot.

Chord Change Drills
One-Minute Changes
Start HereNo Metronome
Pick two chords. Set a 60-second timer. Switch between them as many times as you can, strumming each once. Count your changes and write the number down. Beat yesterday's number. 60 changes per minute means the pair is ready for real songs.
Suggested pairs, easiest first
Week 1:  Em - Am     Em - E      Am - E
Week 2:  Am - C      C - G       Em - G
Week 3:  D - A       D - G       C - D
Blues:   E7 - A7     A7 - B7     E7 - B7
Accuracy first: a clean slow change beats a sloppy fast one. Speed shows up on its own.
Anchor Fingers
Beginner
Some chord pairs share finger positions - leave the shared fingers planted and move only what must move. The change gets twice as fast instantly.
Shared fingers to anchor
Am to C:   fingers 1 and 2 stay put - only ring moves
C to G7:   finger shape flips around finger 1
C to F:    index lies flat at fret 1, others step over one string
C to C7:   whole grip stays - just add the pinky
E to Am:   the whole shape shifts over one string
Em to E:   fingers 2 and 3 stay - just add finger 1
D to Dm:   fingers on G and B move, shape stays compact
Watch your hand during a change: any finger that flies away from the fretboard is wasted motion.
Air Changes
BeginnerAnywhere
Form the chord, squeeze, then relax until your fingers hover a centimeter above the strings - keeping the shape - and press back down. Ten reps per chord. This builds the "snapshot" memory where the whole shape lands at once instead of one finger at a time.
Great during TV commercials. Your fretting hand learns shapes without you even strumming.
Progression Loops
Intermediate60-80 BPM
Chords in the wild come in progressions. Loop each of these with the metronome, one chord per bar, using patterns from the Strumming tab. Don't stop the strumming hand while you change - a sloppy chord in time beats a clean chord out of time.
Four loops to internalize
Three-chord rock:   G  -  C  -  D  -  G
The pop loop:       Em -  C  -  G  -  D
Minor mood:         Am -  Dm -  E7 -  Am
Doo-wop classic:    C  -  Am -  F  -  G
The doo-wop loop is your F gym: start with the small-form F from Open Chords, then graduate to the full barre. If F fights back, just slow the loop down.
Where This Fits

Chord work has its own slot in the Daily template (block 4, Chord Workout) with day-by-day assignments on the Weekly tab. These drills are the menu for that slot: One-Minute Changes most days, the others rotated in. Strumming patterns + chord changes + scales over the top: that's the whole instrument.