Phase 2 Checkpoint: Open Chord Foundation

Sessions covered: 7–12 (cumulative: Sessions 1–12)

You have completed Phase 2. You now have seven open chords, two power chords, palm muting, two time signatures, the 12-bar blues, and short arrangements from rock, folk, and Hindi film music. Your chord vocabulary has more than doubled since Phase 1, and your fingers are moving across the fretboard with increasing confidence.

This checkpoint covers everything from Phase 2 plus key skills from Phase 1 that you should still have.

How to use this checkpoint: Print this page, or copy the item numbers onto paper, so you can write your marks. Play each item, check it the way the item says, and mark yourself honestly — this is for you, not for a grade. Have your tuner, your metronome and a phone that records sound beside you. There are 25 items: if you run out of time, finish on your next practice day.

Each item says how it is checked. The checks are always of these kinds:

Tuner check: pluck each string of the chord, or each note, slowly; the tuner (in the mode that shows any note) shows the letters listed.
Click check: play with the metronome; you pass if you never stop and you finish with the click.
Count check: so many times in a row without the fault that is named.
Recording check: record the item and listen once for the one thing that is named.
The change test (Session 3): Set the metronome to the tempo given; each click is one beat. Strum each chord once, with a downstroke, and let it ring. Play a new chord every 4 beats (on beat 1 of each measure) or every 2 beats (on beats 1 and 3), as the target says. Alternate the two chords until you have played 8 chords in a row: that is 7 changes. You pass when all 8 land on their click with every string that should sound ringing, twice on the same day.
The recorded card test (Session 6): used for the ear item. You made its recording after Session 12.

For each item, mark yourself Mastered (you pass the check written in the item), Needs Work (you can do it, but not yet to the standard of the check) or Not Yet (you cannot do this yet). Items marked * are must-pass. What that means is explained under “Overall Phase Assessment” at the foot of the page.

What You Have Learned

In Phase 2 you added:

Four new open chords: D major, A major, G major, C major
Two power chords: E5 and A5
Palm muting technique
3/4 time signature and waltz strumming (D d d)
12-bar blues structure (I-IV-V progression)
A-D-E chord progression
G-Em-C-D pop/rock progression
Mukhda and antara: the two sections of a Hindi film song
Telling major chords from minor chords by ear (the recorded card test)
Songs: “Scarborough Fair,” “12-Bar in A,” “Iron Man” riff, “About a Girl,” “Knockin’ on Heaven’s Door,” “Ye Shaam Mastani” (refrain chords), “Pal Pal Dil Ke Paas” (refrain chords)

Your complete chord vocabulary is now: Em, Am, E, D, A, G, C, E5, A5

Skills Checklist

Chords — New in Phase 2

1*. Play the D major chord — strings 4 through 1 ring clearly

Mastered — Hold D and pluck strings 4 to 1 one at a time (strings 6 and 5 are not played). All four ring, with no buzz and no dead string, three times in a row. Tuner check, string 4 to string 1: D, A, D, F#.
Needs Work — Some strings buzz, or you accidentally hit strings 5 or 6. Review Session 7, “The D Major Chord”. Check that finger 1 is on string 3 fret 2, finger 2 on string 1 fret 2, finger 3 on string 2 fret 3.
Not Yet — Cannot form the chord reliably. Return to Session 7, “The D Major Chord”, and do the place-strum-lift-place cycle 10 times a day for one week, then take this item again.

2*. Play the A major chord — strings 5 through 1 ring clearly

Mastered — Hold A and pluck strings 5 to 1 one at a time (string 6 is not played). All five ring, with no buzz and no dead string, three times in a row. Tuner check, string 5 to string 1: A, E, A, C#, E.
Needs Work — Strings buzz or the chord sounds muffled. Review Session 8, “The A Major Chord”. Stand each finger on its tip so that it does not lean on the string beside it.
Not Yet — Cannot form the chord. Return to Session 8, “The A Major Chord”: place the shape, pluck strings 5 to 1, lift off, 10 times a day for one week, then take this item again.

3*. Play the G major chord — all six strings ring clearly

Mastered — Hold G with fingers 2, 3 and 4, as in Session 10, and pluck the six strings one at a time. Every string rings, with no buzz and no dead string, three times in a row. Tuner check, string 6 to string 1: G, B, D, G, B, G.
Needs Work — The chord sounds thin or some strings buzz. Review Session 10, “The G Major Chord”. If string 5 is dead, finger 3 is leaning on it; if string 4 is dead, finger 2 is leaning on it: stand that finger up on its tip. If string 1 sounds thin, move finger 4 closer to the fret wire.
Not Yet — Cannot form the chord. Return to Session 10, “Reach Exercise” and “The G Major Chord”: place finger 2, then finger 3, then finger 4, pluck the six strings, lift off, 10 times a day for one week, then take this item again.

4*. Play the C major chord — strings 5 through 1 ring clearly

Mastered — Hold C and pluck strings 5 to 1 one at a time (string 6 is not played). All five ring, with no buzz and no dead string, three times in a row. Tuner check, string 5 to string 1: C, E, G, C, E.
Needs Work — An open string is dead, or other strings buzz. Strings 3 and 1 are the open ones: string 3 is usually deadened by finger 2 and string 1 by finger 1. Stand that finger up on its tip. Review Session 11, “The C Major Chord”.
Not Yet — Cannot form the chord. Return to Session 11, “The C Major Chord”: place the shape, pluck strings 5 to 1, lift off, 10 times a day for one week, then take this item again.

5*. Play the E5 power chord with palm muting

Mastered — Only strings 6 and 5 sound (tuner check, string 6 then string 5: E, B). With the edge of your strumming-hand palm resting lightly on the strings just where they cross the saddle, record 4 measures of palm-muted eighth notes on E5 and listen once: every note has the same short “chunk”, neither ringing fully nor dead.
Needs Work — Palm muting is inconsistent — sometimes dead (the palm is too far towards the soundhole), sometimes ringing fully (the palm is back on the bridge itself). Review Session 9, “What Is Palm Muting?” and “Palm Muting Exercise”.
Not Yet — Cannot combine the power chord with palm muting. Return to Session 9, “E5 Power Chord” and “Palm Muting on Two Strings”, 3 minutes a day for one week, then take this item again.

6*. Play the A5 power chord with palm muting

Mastered — Only strings 5 and 4 sound, and string 6 stays silent (tuner check, string 5 then string 4: A, E). Record 4 measures of palm-muted eighth notes on A5 and listen once: every note has the same short “chunk”.
Needs Work — String 6 rings accidentally, or the muting is uneven. Review Session 9, “A5 Power Chord”: rest the pick on string 5, then strum from there, so that string 6 stays silent. Rest the edge of your strumming-hand palm lightly on the strings just where they cross the saddle (the thin strip on the bridge).
Not Yet — Cannot play A5 cleanly. Return to Session 9, “A5 Power Chord” and “Palm Muting on Two Strings”, 3 minutes a day for one week, then take this item again.

Chord Transitions

7*. Pass the change test for G and Em: a new chord every 2 beats at 60 BPM

Mastered — 8 chords in a row, one downstroke on beat 1 and one on beat 3, all 8 landing on their click with every string that should sound ringing, twice on the same day.
Needs Work — A chord lands late, or a string buzzes after the switch. Review Session 10, “Key Transitions with G”. Notice which fingers move and which can stay. Drop to 50 BPM and climb back 5 BPM at a time.
Not Yet — Cannot switch in time. Return to Session 10, “Key Transitions with G”: G to Em and back, 20 slow changes with no clock, then the change test with a new chord every 4 beats at 60 BPM, on each practice day for one week. Then take this item again.

8*. Pass the change test for G and D: a new chord every 2 beats at 60 BPM

Mastered — 8 chords in a row, all 8 landing on their click with every string that should sound ringing, twice on the same day.
Needs Work — Hesitation on the switch. Review Session 10, “Key Transitions with G”. Practise at 50 BPM first, then climb 5 BPM at a time.
Not Yet — Cannot switch reliably. Return to Session 10, “Key Transitions with G”: G to D and back, 20 slow changes with no clock, then the change test with a new chord every 4 beats at 60 BPM, on each practice day for one week. Then take this item again.

9*. Pass the change test for C and G: a new chord every 2 beats at 50 BPM

Mastered — 8 chords in a row, all 8 landing on their click with every string that should sound ringing, twice on the same day.
Needs Work — C is slow to form. Review Session 11, “Key Transitions with C”. The C-G transition is one of the hardest — give it extra practice each day. Start at 40 BPM and climb 5 BPM at a time.
Not Yet — Cannot switch reliably. Return to Session 11, “Key Transitions with C”, and review Chord Transitions: C to G and back, 15 slow changes with no clock, then the change test with a new chord every 4 beats at 60 BPM, on each practice day for one week. Then take this item again.

10. Play the A-D-E progression at 70 BPM, one measure per chord, strumming D/U

Mastered — Click check: three times round (9 measures). Every chord lands on beat 1 of its measure with every string that should sound ringing; you never stop and you finish with the click.
Needs Work — One transition is rough. Review Session 8, “Key Transitions with A”. Find the weakest change and use its guide finger: from A to D, finger 3 stays on string 2 and slides one fret; from E to D, finger 1 stays on string 3 and slides one fret. Then take the change test for that pair with a new chord every 4 beats at 60 BPM.
Not Yet — Multiple transitions fail. Return to Session 8, “Key Transitions with A” (A to D) and “Transition Warm-Up (Pre-Learning A)” (E to D): 20 clean changes each with no clock, on each practice day for one week. Then take this item again.

Strumming and Rhythm

11*. Play a waltz strumming pattern (D d d) at 70 BPM in 3/4, one strum per click

Mastered — Set the metronome to 3 beats per measure and play 8 measures on Em or D. Recording check: beat 1 is the loudest strum in every measure, and you finish with the click.
Needs Work — All three beats sound the same volume, or you drift into counting four. Review Session 7, “Waltz Strumming Pattern”. Count “ONE two three, ONE two three” aloud while strumming.
Not Yet — Cannot keep 3/4 time going. Return to Session 7, “Understanding 3/4 Time” and “Practice the Waltz Pattern”, 3 minutes a day for one week, then take this item again.

12. Play the D D U U D U pattern on any chord at 75 BPM

Mastered — Click check: 8 measures on one chord at 75 BPM, D D U U D U pattern. You never stop and you finish with the click.
Needs Work — You lose the pattern after a few measures. Review Session 5, “Strumming Pattern Breakdown”. Say the count aloud while playing: “1, 2-and, (3)-and, 4-and”.
Not Yet — Cannot play this pattern at tempo. Return to Session 5, “Strumming Pattern Breakdown”, and build up from 50 BPM in steps of 5, 3 minutes a day for one week, then take this item again.

13. Play palm-muted power chord eighth notes at 70 BPM, two notes per click (eighth notes), for 4 measures

Mastered — E5 to A5, one measure per chord, 4 measures, played down-up with the edge of your palm resting lightly on the strings just where they cross the saddle. Recording check: every note has the same short “chunk”, only the two strings of each chord sound, and you finish with the click.
Needs Work — Muting is inconsistent or the rhythm wavers. Review Session 9, “Power Chords with Palm Muting”. Start at 60 BPM and climb 5 BPM at a time.
Not Yet — Cannot keep palm-muted eighth notes going. Return to Session 9, “Palm Muting Exercise” and “Palm Muting on Two Strings”, 3 minutes a day for one week, then take this item again.

Theory and Structure

14*. Play a 12-bar blues in A (A-D-E) from memory

Before you read the three lines below, do this: record yourself playing the 12 measures without a chart, a single downstroke on beat 1 of each measure, saying each measure’s chord aloud. Then play the recording back and mark it against the Mastered line.

Mastered — On the recording you did not stop, and every measure has the right chord (4 measures A, 2 measures D, 2 measures A, 1 measure E, 1 measure D, 1 measure A, 1 measure E: the turnaround).
Needs Work — You need to look at the chart partway through, or you play A in measure 12. Review Session 8, “The 12-Bar Blues”. Write out the progression from memory, then check.
Not Yet — Cannot remember the structure. Return to Session 8, “The 12-Bar Blues”: play the form from the chart, saying each chord aloud, twice on each practice day for one week. Then take this item again.

15. Explain the difference between 4/4 and 3/4 time

Mastered — You can say it (4/4 has four beats in a measure, 3/4 has three) and show both: strum Em for two measures of 4/4 (D d d d) and then two measures of 3/4 (D d d), counting aloud.
Needs Work — You can say it, but you mix the counts up when you play. Review Session 7, “Understanding 3/4 Time”, and Rhythm And Time.
Not Yet — The idea is unclear. Return to Session 7, “Understanding 3/4 Time”: count and strum four measures of each on every practice day for one week. Then take this item again.

Songs

16. Play the “Iron Man” main riff, single-note version (Black Sabbath) at 70 BPM (the click is one beat)

Mastered — You play the two-measure riff four times without stopping. Every note is the right string and fret, the first two notes get a full beat each, and you finish with the click.
Needs Work — Notes buzz, or the long and short notes come out the same length. Review Session 9, “How to Learn This Riff”. Practise one measure at a time at 55 BPM.
Not Yet — Cannot play the riff. Return to Session 9, “How to Learn This Riff”, and start again at 50 BPM, 5 minutes a day for one week, then take this item again.

17*. Play the “About a Girl” verse accompaniment — Em and G, two beats each, at 70 BPM

Mastered — You play eight measures without stopping, at 70 BPM, D D U U D U pattern. You change to G on the silent beat 3, so that the first G stroke is the upstroke on the ”&” of 3, and you are back on Em for beat 1 of the next measure; the strumming stays steady through the changes; you finish with the click.
Needs Work — Transitions are slow or strumming breaks down during chord changes. Review Session 10, “Verse Accompaniment (Simplified)”. Go back to 60 BPM and climb 5 BPM at a time.
Not Yet — Cannot play the accompaniment. Return to Session 10, “Verse Accompaniment (Simplified)”, and start with Step 1 (four downstrokes a measure) at 50 BPM, 5 minutes a day for one week, then take this item again.

18. Play “Knockin’ on Heaven’s Door” (Bob Dylan) — G-D-Am then G-D-C, the eight-measure half-speed chart, at 70 BPM

Mastered — You play the eight measures twice through without stopping, at 70 BPM, strumming D/U, with C (not Am) in measures 7 and 8. Every change lands on beat 1; the down-up strumming stays even; you finish with the click.
Needs Work — One chord transition is rough. Identify the weak transition and drill it. Review Session 10, “Simplified Chart (Half Speed)”.
Not Yet — Cannot play the chart through. Return to Session 10, “Simplified Chart (Half Speed)”, and start at 55 BPM, 5 minutes a day for one week, then take this item again.

Phase 1 Retention

19. Play the “Come As You Are” riff (two measures, four times through) at 60 BPM

Mastered — Still in time at 60 BPM, two notes per click (eighth notes), starting with the three pick-up notes: every note is the right string and fret, and you finish with the click.
Needs Work — Rusty. Quick review of Session 4, “How to Learn This Riff” — play the riff 5 times to refresh it.
Not Yet — Forgotten. Re-learn from Session 4, “How to Learn This Riff”, 5 minutes a day for one week, then take this item again.

20*. Play Em, Am, and E chords cleanly with smooth transitions

Mastered — For each of the three chords, every string that should sound rings when you pluck the strings one at a time. You still pass the change test for Em and Am with a new chord every 2 beats at 60 BPM.
Needs Work — One chord is weak. Go back to the session that teaches it (Em: Session 2, “The Em Chord”; Am: Session 3, “The Am Chord”; E: Session 5, “The E Major Chord”): place the shape, pluck each string that should sound and lift off, for 2 minutes on each practice day for one week. Then take this item again.
Not Yet — Phase 1 chords have deteriorated. Revisit Session 2 (Em), Session 3 (Am) and Session 5 (E major): place, pluck each string and lift off, 10 times for each chord, on each practice day for one week. Then take this item again.

More Phase 2 Pieces

21. Play G, Em, C, D, one measure per chord, at 60 BPM, strumming D/U

Mastered — Click check: four times round (16 measures) without stopping or losing the beat. Every chord lands on beat 1 of its measure, and you finish with the click.
Needs Work — One change breaks the rhythm, usually Em to C or C to D, where every finger moves. Review Session 11, “The Complete Pop Progression”. Take the change test for that pair with a new chord every 4 beats at 60 BPM.
Not Yet — Cannot keep the progression going. Return to Session 11, “The Complete Pop Progression”, with one downstroke on beat 1 of each measure, 3 minutes a day for one week, then take this item again.

22. Play the “Scarborough Fair” chart at 70 BPM in 3/4, one strum per click

Mastered — The 16-measure chart from Session 7, with the waltz strum (D d d), without stopping. Every chord lands on beat 1, and you finish with the click.
Needs Work — A chord change is late, or you lose the three-beat count. Review Session 7, “How to Learn This Song”. Go back to 60 BPM in 3/4 and climb 5 BPM at a time.
Not Yet — Cannot play the chart through. Return to Session 7, “How to Learn This Song”, Step 2 (50 BPM in 3/4, one strum per click), 5 minutes a day for one week, then take this item again.

23. Play the “Ye Shaam Mastani” refrain chart at 65 BPM, strumming D/U

Mastered — The eight-measure refrain chart from Session 11, twice through, without stopping. Every chord lands on beat 1 and you finish with the click. You can also say which section of the song the chart covers: the mukhda (the refrain that keeps returning), not an antara (a stanza between its returns).
Needs Work — A change is late (C to D is the hardest), or you cannot say what a mukhda and an antara are. Review Session 11, “How a Hindi Film Song Is Built” and the tempo ladder under “Chord Chart: refrain (mukhda), simplified”. Go back to 55 BPM.
Not Yet — Cannot play the chart through. Return to Session 11, “Chord Chart: refrain (mukhda), simplified”, and start at step 1 of its tempo ladder (one strum per measure at 50 BPM), 5 minutes a day for one week, then take this item again.

24. Play the “Pal Pal Dil Ke Paas” lead-in and refrain chart at 65 BPM

Mastered — The picked lead-in (2 measures, one note per click), then the six-measure refrain chart twice through with the D D U U D U pattern, without stopping. Your first strum lands on beat 1 of the measure after the lead-in, and you finish with the click.
Needs Work — The first strum is late, or the Am to D change breaks the pattern. Review Session 11, “Lead-in and Chord Chart (simplified)”. Join the two parts at 60 BPM; if the first strum is late, let the last note of the lead-in ring for one extra measure, then start strumming on the next beat 1.
Not Yet — Cannot play the lead-in or the chart. Return to Session 11, “Lead-in and Chord Chart (simplified)”, and follow its tempo ladder from step 1, 5 minutes a day for one week, then take this item again.

Ear Skills

25*. Tell major chords from minor chords by ear (the recorded card test)

This item is marked from the recording you made after Session 12: the recorded card test (Session 6), Test 1, with ten slips (E, A, D, G, C, Em, Em, Am, Am, Am) and one down-strum for each slip. Play the recording once through and write “major” or “minor” for each number. Then turn the slips over in order and mark your answers. If you have already marked that recording on an earlier practice day, use that mark. If you have not made the recording, make it today and mark this item tomorrow. If someone else can play the ten chords for you where you cannot see their hands, that works equally well.

Mastered — At least 8 of your 10 answers are right.
Needs Work — 6 or 7 are right. On each practice day for one week, strum E then Em, and A then Am, saying “major” or “minor” as you play each one. Then shuffle the slips, make a new recording, and take this item again the day after.
Not Yet — 5 or fewer are right. This develops with time. Return to Session 6, “Major vs Minor — Ear Training”, and do its listening drill on each practice day for one week. Then shuffle the slips, make a new recording, and take this item again the day after.

Overall Phase Assessment

Count your “Mastered” items: _____ out of 25

Are all fourteen must-pass items (1 to 9, 11, 14, 17, 20 and 25) Mastered? Yes / No

Result	What It Means
Every * item Mastered, and 20 or more of the 25 items Mastered	Go on to Phase 3.
Anything less	Practise the items that are not yet Mastered for one more week, using the advice under each, and take those items again. After that second week, go on to Phase 3 in any case and keep the unfinished items in your warm-up.

Checkpoints are not exams, but they do decide when you move on. Items marked * are must-pass. If every * item is Mastered and at least four in every five items are Mastered, go on to the next phase. If not, practise the items that are not yet Mastered for one more week, using the advice under each, and take those items again. After that second week, go on in any case and keep the unfinished items in your warm-up.

Encouragement

Look at what you can do now. Seven open chords, two power chords, palm muting, two time signatures, the 12-bar blues, and short arrangements of music by Nirvana, Black Sabbath and Bob Dylan and of film songs sung by Kishore Kumar. You can play in 4/4 and 3/4 time. You know how a song is put together — verse and chorus, mukhda and antara.

Phase 3 introduces the C major scale, fingerpicking, the pentatonic scale, syncopated strumming, and the simplified F chord. These are the tools that turn chord players into real guitarists. Everything you built in Phases 1 and 2 makes them possible. Keep going.