Weekly Practice Plans: Phases 3 and 4

This guide continues from Weekly Plans Phase 1 2 with daily practice schedules for Phases 3 and 4 (Sessions 13–24). By now you have seven open chords, power chords, two strumming patterns, and solid calluses. These phases introduce scales, fingerpicking, advanced techniques, improvisation, and performance skills.

Practice duration: 25–30 minutes per day. Your fingers are conditioned and your stamina is higher. If you have extra time, use it on the Review block at the end of each day — play old favourites, experiment, or work on a weak spot.

How to use this guide: Each “week” corresponds to one session. After completing Session 13, follow the Week 13 plan until your next session. The plans reference specific exercises, songs, and techniques from each session — review the session material if anything is unclear.

Phase 3 — Rhythm and Melody (Weeks 13–18)

Phase 3 introduces five major new skills: syncopated strumming with muted strums, the C major scale, fingerpicking (p-i-m-a and Travis picking), the Am pentatonic scale with hammer-ons and pull-offs, and a barre chord (simplified F). Each week focuses on the new skill while maintaining your chord and song repertoire.

Week 13 — After Session 13: Syncopated Strumming and Muted Strums

You learned: syncopated strumming, muted “chuck” strums, “Paranoid” riff at 80 BPM.

Day	Focus	Activity	Time
Day 1	Muted strum technique	Mute the strings with your fretting hand (lay fingers flat). Strum with the muted “chk” sound at 70 BPM, 8 bars. Get the percussive sound crisp. Then alternate: Em strum → muted chk → Em strum → chk, 8 bars.	20 min
Day 2	Syncopated pattern	Play the syncopated pattern from Session 13 on Em at 60 BPM. Count: “1 and 2 and 3 and 4 and” — the muted strums fall on specific off-beats. 4 bars. Then on Am. Then on G.	22 min
Day 3	Paranoid riff — first half	Learn the first section of the “Paranoid” riff (E5-based power chord pattern) at 60 BPM. Focus on palm muting vs open hits. 5 reps.	25 min
Day 4	Paranoid riff — full	Play the complete “Paranoid” riff at 65 BPM, 3 reps. Then try 70 BPM. The muted “chk” between power chord hits should be sharp and rhythmic.	25 min
Day 5	Speed building + review	”Paranoid” at 70–75 BPM. Then syncopated pattern on G → Em → C → D progression at 65 BPM, 2 cycles. Finish with “About a Girl” once (chord review).	28 min
Day 6	Consolidation	Tune. Syncopated strum on all 7 open chords, 2 bars each. “Paranoid” at your best tempo. “Iron Man” once for power chord review. “12-Bar in A” once.	28 min

End-of-week check: Can you play a clean muted strum on demand? Can you play “Paranoid” at 75+ BPM? Does the syncopated pattern feel natural on at least three chords?

Week 14 — After Session 14: C Major Scale and Melody Playing

You learned: C major scale (one octave, open position), note names on the first three frets, “Mere Sapno Ki Rani” melody at 70 BPM.

Day	Focus	Activity	Time
Day 1	C major scale — slow	Play the C major scale ascending (C-D-E-F-G-A-B-C) and descending at 50 BPM, quarter notes. Alternate picking throughout. Say each note name aloud as you play it. 5 reps.	20 min
Day 2	Scale speed + fretboard names	C major scale at 55 BPM, then 60 BPM. 3 reps each. Then quiz yourself: play a random fret on strings 1–3 (frets 0–3) and name the note. 10 notes.	22 min
Day 3	Mere Sapno Ki Rani — phrase by phrase	Learn Phrase 1 and Phrase 2 of the melody at 50 BPM. Each phrase separately, 5 reps. Then connect them. Focus on clean, singing single notes.	25 min
Day 4	Mere Sapno Ki Rani — full melody	Play the complete melody at 55 BPM. 3 reps. If any phrase is shaky, isolate it for 5 slow reps. Then run the whole thing.	25 min
Day 5	Scale + melody + chords	C major scale at 60 BPM, 2 reps (warm-up). “Mere Sapno Ki Rani” at 60–65 BPM. Then “Pal Pal Dil Ke Paas” chords once (Hindi film chord review).	28 min
Day 6	Consolidation	Tune. C major scale at 60 BPM, 3 reps. “Mere Sapno Ki Rani” at your best tempo. “Paranoid” once. Play G → Em → C → D with syncopated strum at 70 BPM, 2 cycles.	28 min

End-of-week check: Can you play the C major scale ascending and descending without hesitation at 60 BPM? Can you name at least 8 notes on the first three frets? Can you play “Mere Sapno Ki Rani” melody at 65+ BPM?

Week 15 — After Session 15: Fingerpicking

You learned: p-i-m-a finger assignment, basic fingerpicking, Travis picking, “Fear of the Dark” intro at 60 BPM.

Day	Focus	Activity	Time
Day 1	p-i-m-a on Em	Place your right hand: thumb (p) on string 6, index (i) on string 3, middle (m) on string 2, ring (a) on string 1. Play p-i-m-a slowly, one finger at a time. No metronome yet. 3 minutes. Then at 40 BPM for 4 bars.	20 min
Day 2	Travis picking pattern	Travis picking on Em: thumb alternates between string 6 and string 4 (p on beats 1 and 3), while i-m-a play strings 3-2-1. At 40 BPM. This is hard at first — stay slow. 8 bars. Then try on Am (thumb on strings 5 and 4).	25 min
Day 3	Fear of the Dark — first 4 bars	Learn the first 4 bars of the “Fear of the Dark” intro fingerpicking pattern from TAB at 40 BPM. Play each bar 5 times before moving to the next. Focus on thumb independence.	25 min
Day 4	Fear of the Dark — 8 bars	Play the first 8 bars at 45 BPM. 3 reps. If the thumb pattern breaks down, practise thumb alone for 2 minutes, then add fingers.	28 min
Day 5	Fear of the Dark — full intro	Play the complete “Fear of the Dark” intro at 50 BPM. 2 reps. Then try 55 BPM. Finish with C major scale once and “Paranoid” once (keep pick technique active alongside fingerpicking).	28 min
Day 6	Consolidation	Tune. Travis picking on Em, Am, and C — 4 bars each at 45 BPM. “Fear of the Dark” at your best tempo. “Mere Sapno Ki Rani” once (melody review).	28 min

End-of-week check: Can you play the p-i-m-a pattern smoothly on Em at 45+ BPM? Can you play “Fear of the Dark” intro at 50+ BPM? Does your thumb operate independently from your fingers?

Important: Fingerpicking takes weeks to feel natural. If you struggle, add 5 minutes of Travis picking to the start of every practice session for the next month. The thumb independence develops gradually.

Week 16 — After Session 16: Am Pentatonic, Hammer-Ons, and Pull-Offs

You learned: Am pentatonic scale (Box 1), hammer-on technique, pull-off technique, “Zindagi Kaisi Hai Paheli” melody at 65 BPM.

Day	Focus	Activity	Time
Day 1	Am pentatonic scale	Play Am pentatonic ascending and descending at 50 BPM, quarter notes. Alternate picking. 5 reps. The pattern spans all six strings in the open position. Say the note names if you can.	20 min
Day 2	Hammer-ons	On string 1: pick open, hammer finger 3 onto fret 3 (0h3). The hammered note should be as loud as the picked note. 10 reps. Then on string 2: 0h1, 0h3. Then on string 3: 0h2.	22 min
Day 3	Pull-offs	On string 1: place finger 3 on fret 3, pick, pull off to open (3p0). The pulled-off note should ring. 10 reps per string. Then combine: 0h3p0 on string 1, 10 reps. This is a critical technique — get it clean.	25 min
Day 4	Am pentatonic with ornaments	Play Am pentatonic ascending with hammer-ons (where possible) and descending with pull-offs. 50 BPM. 3 reps. This is how the scale sounds musical rather than mechanical.	25 min
Day 5	Zindagi Kaisi Hai Paheli	Learn the melody at 50 BPM, phrase by phrase. Use the hammer-ons and pull-offs as marked in the TAB. 3 full reps when comfortable. Then “Fear of the Dark” once (fingerpicking review).	28 min
Day 6	Consolidation	Tune. C major scale once at 60 BPM. Am pentatonic with hammer-ons/pull-offs at 55 BPM, 2 reps. “Zindagi Kaisi Hai Paheli” at your best tempo. “Paranoid” once (keep strumming sharp).	28 min

End-of-week check: Can you play the Am pentatonic ascending and descending at 55+ BPM? Are your hammer-ons and pull-offs audible? Can you play “Zindagi Kaisi Hai Paheli” at 60+ BPM?

Week 17 — After Session 17: Barre Chord (Simplified F)

You learned: simplified F barre chord, grip strength technique, “Roop Tera Mastana” at 65 BPM.

Day	Focus	Activity	Time
Day 1	F chord formation	Form the simplified F barre chord from Session 17. Press firmly. Strum strings 1–4. Check each string individually — all must ring. Repeat 15 times. This is physically demanding — rest between reps if your hand cramps.	20 min
Day 2	F chord hold + transitions	Hold F for 10 seconds, release, shake out hand. Repeat 5 times. Then C → F transitions at 40 BPM, 10 reps. The C-to-F change shares a common finger position — use that anchor.	22 min
Day 3	F in a progression	Play C → F → G → C at 50 BPM. One bar per chord, D/U strumming. 4 cycles. The F will feel slow — that is normal. Focus on getting it clean even if you are late to the beat.	25 min
Day 4	Roop Tera Mastana	Play “Roop Tera Mastana” chord progression at 50 BPM, 2 reps. The F chord sections will be the bottleneck. Isolate the transition into and out of F. 10 reps at 40 BPM.	25 min
Day 5	Barre chord strength + review	Hold F for 15 seconds × 5 (with rests). Then “Roop Tera Mastana” at 55–60 BPM. Finish with Am pentatonic + hammer-ons at 55 BPM and “Zindagi Kaisi Hai Paheli” once.	28 min
Day 6	Consolidation	Tune. All chords: Em, Am, E, D, A, G, C, F — one strum each, clean check. “Roop Tera Mastana” at your best tempo. Travis picking on Am for 4 bars. “Iron Man” once.	28 min

End-of-week check: Can you form the simplified F with all strings ringing (even if it takes a moment)? Can you transition into F from C within 3 beats? Can you play “Roop Tera Mastana” at 55+ BPM?

Barre chord patience: The F barre chord may take weeks to feel comfortable. Add the 10-second hold exercise to every warm-up from now on. Your grip strength builds gradually.

Week 18 — After Session 18: Phase 3 Showcase

You performed: the Phase 3 medley combining scales, fingerpicking, syncopated strumming, and songs from multiple genres.

This week consolidates Phase 3. You are halfway through the course.

Day	Focus	Activity	Time
Day 1	Scale double-header	C major scale at 65 BPM, 2 reps. Am pentatonic with hammer-ons/pull-offs at 60 BPM, 2 reps. Back-to-back scales build fluency.	20 min
Day 2	Technique rotation	5 min fingerpicking (Travis on Em and Am). 5 min syncopated strum on G → Em → C → D. 5 min hammer-ons and pull-offs on Am pentatonic. 5 min F barre chord holds.	22 min
Day 3	Song marathon	Play three songs from your repertoire: one fingerpicking song, one strummed rock song, one Hindi film song. No stopping between songs. Builds performance stamina.	25 min
Day 4	Phase 3 medley	Play the Session 18 medley at your best tempo. Record it. Note your weakest section. Isolate and drill that section for 10 reps at half tempo. Run the medley again.	28 min
Day 5	Weak spot focus	Dedicate the entire session to your single weakest skill in Phase 3. Is it fingerpicking? Spend 25 minutes on Travis picking. Barre chord? Spend 25 minutes on F transitions. Hammer-ons? Drill them. One skill, deep focus.	28 min
Day 6	Phase 3 completion	Final run of the Phase 3 medley. Record it. Complete the Phase 3 Milestone Checklist in Progress Tracking. Compare this recording to your Phase 2 recording. The difference will be dramatic.	28 min

Phase 3 complete. You now have scales, fingerpicking, syncopated strumming, hammer-ons, pull-offs, and a barre chord. You can play melodies and chords. You have songs from five genres. You are ready for Phase 4 — performance, improvisation, and exam preparation.

Phase 4 — Performance Ready (Weeks 19–24)

Phase 4 builds performance skills: song arrangement, moveable power chords, expressive melody, improvisation, and exam readiness. Practice sessions are longer and more demanding. You are no longer learning individual skills in isolation — you are combining everything into complete musical performances.

Practice duration: 30–40 minutes per day. You have the stamina. Use it.

Week 19 — After Session 19: Song Arrangement

You learned: how to arrange a song with melody intro and chord verse, “Wasted Years” intro + arrangement at 70 BPM.

Day	Focus	Activity	Time
Day 1	Wasted Years — melody intro	Play the “Wasted Years” melody intro at 55 BPM. Focus on clean single notes and alternate picking. 5 reps. Then at 60 BPM.	22 min
Day 2	Wasted Years — chord verse	Play the chord verse section at 60 BPM. Then practise the transition from melody to chords — this switch (single notes → strumming) is the arrangement skill. 5 transition reps.	25 min
Day 3	Full arrangement	Play the complete “Wasted Years” arrangement: melody intro → chord verse → melody instrumental → chord verse → ending. At 60 BPM. 2 full reps.	28 min
Day 4	Speed building	”Wasted Years” full arrangement at 65 BPM. Then 70 BPM. Focus on smooth transitions between melody and chord sections.	28 min
Day 5	Arrangement + review	”Wasted Years” at your best tempo, 1 rep. Then “Fear of the Dark” fingerpicking at 55 BPM. Then Am pentatonic with hammer-ons at 60 BPM. Then “Paranoid” at 75 BPM. This hits every Phase 3 technique.	30 min
Day 6	Consolidation	Tune. C major scale and Am pentatonic, 1 rep each. “Wasted Years” full arrangement, 2 reps. Play any song you enjoy for 5 minutes.	30 min

End-of-week check: Can you play the “Wasted Years” arrangement with smooth melody-to-chord transitions at 65+ BPM? Can you hear the difference between the melody sections and chord sections in your own performance?

Week 20 — After Session 20: Moveable Power Chords (Smells Like Teen Spirit)

You learned: moveable power chord shape, F5/Bb5/Ab5/Db5 positions, “Smells Like Teen Spirit” full arrangement at 70 BPM.

Day	Focus	Activity	Time
Day 1	Power chord navigation	F5 (fret 1) → Bb5 (fret 6) → Ab5 (fret 4) → Db5 (fret 9): slide between them, one strum each. Use the fret markers as landmarks. 15 cycles, no metronome. Get the positions memorised.	22 min
Day 2	Main riff — chord-chord-chk-chk	Play the signature riff (power chord strums + muted “chucka” strums) at 55 BPM. Focus on crisp muted strums between the chord hits. 4 full cycles (2 measures each).	25 min
Day 3	Verse and chorus contrast	Play the verse (palm-muted, quiet, eighth notes) at 60 BPM for 4 bars. Then the chorus (open, loud, D D U U D U) for 4 bars. Exaggerate the dynamic difference. Repeat 3 times.	28 min
Day 4	Full arrangement	Play the complete arrangement (intro riff → verse → pre-chorus → chorus → riff) at 60 BPM. 2 reps. The dynamic contrast between verse and chorus is the soul of this song.	30 min
Day 5	Speed building + review	”Smells Like Teen Spirit” at 65 BPM, then 70 BPM. If 70 is messy, stay at 65. Then “Wasted Years” once. Then “Roop Tera Mastana” once (keeps barre chord and Hindi film skills active).	32 min
Day 6	Consolidation	Tune. All power chord positions: E5, A5, F5, Bb5, Ab5, Db5 — one strum each. “Smells Like Teen Spirit” at your best tempo, 2 reps. Record the chorus — listen for dynamic contrast.	30 min

End-of-week check: Can you slide between F5, Bb5, Ab5, and Db5 without looking at the fretboard? Can you play “Smells Like Teen Spirit” with a clear quiet-verse/loud-chorus contrast at 65+ BPM?

Week 21 — After Session 21: Expressive Melody (Ae Meri Zohra Jabeen)

You learned: slide technique, expressive melody playing, “Ae Meri Zohra Jabeen” melody and chord accompaniment at 65 BPM.

Day	Focus	Activity	Time
Day 1	Slide technique	On string 1: play fret 3, slide to fret 5 (3/5). The pitch should glide audibly. 10 reps. Then 5\3 (slide down). Then 0/3 and 3\0. Clean, audible slides on every rep.	20 min
Day 2	Melody phrases 1–2	Play Phrase 1 (“Ae meri zohra jabeen”) and Phrase 2 (“Tujhe maloom nahin”) at 50 BPM. The slide in Phrase 1 is the signature moment. 5 reps each phrase, then connect them.	25 min
Day 3	Melody phrases 3–4	Play Phrase 3 and Phrase 4 (the ornamented phrase with hammer-ons, pull-offs, and slides) at 50 BPM. Phrase 4 is the hardest — isolate 0h3, 3\1, and 0h3p0 for 5 reps each.	28 min
Day 4	Complete melody	Play all four phrases at 55 BPM. Leave a breath (small gap) between phrases — like a singer breathing. 3 full reps. Then try 60 BPM.	28 min
Day 5	Full arrangement	Play the arrangement: melody intro → chord verse (Am-D-G-C-Am-E-Am) → instrumental melody → chord verse → ending. At 60 BPM. 2 reps. Focus on contrast between singing melody and warm chords.	30 min
Day 6	Consolidation	Tune. Slide practice (3/5, 5\3 on string 1, 10 reps). “Ae Meri Zohra Jabeen” full arrangement at 60–65 BPM. “Smells Like Teen Spirit” chorus once (keep power chords alive).	30 min

End-of-week check: Can you play an audible, clean slide from fret 3 to fret 5? Can you play the complete “Ae Meri Zohra Jabeen” melody with expressive phrasing at 60+ BPM? Can you transition from melody to chord sections within one beat?

Week 22 — After Session 22: Improvisation Workshop

You learned: four starter phrases (Question, Answer, Climb, Release), call-and-response phrasing, soloing over a 12-bar blues in Am.

Day	Focus	Activity	Time
Day 1	Starter phrases	Learn the four starter phrases from Session 22 (A, B, C, D) by heart. Play each one 5 times at 55 BPM. Then chain them: A → rest → B → rest → C → rest → D.	22 min
Day 2	Call and response	Play Phrase A (2 bars). Rest for 2 bars (count silently). Play Phrase B (2 bars). Rest. This is call-and-response. 3 cycles. Space is as important as notes.	25 min
Day 3	Guided solo	Follow the Session 22 guided improvisation roadmap over the 12-bar blues in Am at 55 BPM. Play through 2 complete choruses. Use the suggested phrases for each chord section.	28 min
Day 4	Free solo	Solo freely over the 12-bar blues. No roadmap. Use Am pentatonic notes, hammer-ons, pull-offs, slides. Leave space. End each chorus on the note A. 3 choruses at 55 BPM.	28 min
Day 5	Performance structure	Play the full performance structure from Session 22: chord intro → guided solo chorus → chord chorus → free solo chorus → ending. At 60 BPM. Record it. Listen for phrasing and space.	32 min
Day 6	Consolidation	Tune. Am pentatonic at 60 BPM, 2 reps. Free solo over 12 bars, 2 choruses (just enjoy it). “Ae Meri Zohra Jabeen” melody once. “Wasted Years” once.	30 min

End-of-week check: Can you play all four starter phrases from memory? Can you solo for 12 bars without running out of ideas? Do you leave space between phrases?

Important note on improvisation: Your first solos will feel awkward. That is completely normal. Improvisation is a muscle — it gets stronger with daily use. Add one free solo chorus to the start of every practice session from now on, even just 30 seconds. The comfort builds over weeks.

Week 23 — After Session 23: Grade 1 Exam Preparation

You learned: exam format, scale requirements, sight-reading technique, ear skills (echo, rhythm, major/minor recognition).

Day	Focus	Activity	Time
Day 1	Scales at exam tempo	C major scale at 60 BPM, eighth notes (two notes per beat), 3 reps. Am pentatonic at 60 BPM, eighth notes, 3 reps. Smooth, even, no hesitation on any note.	20 min
Day 2	Chord accuracy drill	Close your eyes. Think of a chord name. Form it. Strum. Open eyes and check. Do this for all 8 chords: Em, Am, E, D, A, G, C, F. Each must be clean within 2 seconds. 2 full cycles. Then G → Em → C → D at 70 BPM, 4 reps.	25 min
Day 3	Sight-reading practice	Find a simple TAB passage you have not played before (from Tab Notation Guide or online). Study it for 15 seconds. Play at 50 BPM. Repeat with a different passage. Do 3 passages. Slow and accurate beats fast and messy.	25 min
Day 4	Ear skills	Play random chords with your eyes closed. After each strum, say “major” or “minor” before looking. 10 chords. Then tap a rhythm from Session 23 and reproduce it from memory. Then play a 4-note phrase and try to repeat it without looking at your hand.	25 min
Day 5	Exam repertoire — piece by piece	Play your three chosen exam pieces at performance tempo, one after another. Time each one. Between pieces: brief pause, check tuning, breathe, count in. This simulates the exam.	32 min
Day 6	Full mock exam	Run the entire mock exam: scales → chord accuracy test → sight-reading (use a new passage) → ear skills → three pieces. Time the whole thing. Record the pieces. Review using Final Assessment.	35 min

End-of-week check: Can you play both scales at 60 BPM in eighth notes? Can you form any chord within 2 seconds? Can you sight-read a simple TAB at 50 BPM? Can you perform three pieces without stopping?

Week 24 — After Session 24: Final Showcase

You performed: a three-piece concert from memory. This is the final week of the course.

This week is about polish, confidence, and celebration. No new skills — just refining your performance and completing the course.

Day	Focus	Activity	Time
Day 1	Concert piece 1	Play your first concert piece 3 times. Identify the weakest 4-bar section. Drill it 10 times at half tempo. Play the full piece once more. It should sound better.	25 min
Day 2	Concert piece 2	Same approach: 3 reps, identify weakness, drill, final rep. Then practise the transition from piece 1 to piece 2 (put guitar in rest position, breathe, count in, begin).	28 min
Day 3	Concert piece 3	Same approach. Then play pieces 2 and 3 back-to-back. The transition between pieces should feel calm and deliberate.	28 min
Day 4	Full concert run	Play all three pieces in order, concert-style. Rules from Session 24: do not stop, no apologies for mistakes, play for an imagined audience. Record the whole thing.	30 min
Day 5	Listen and polish	Listen to your Day 4 recording. Write down one strength and one weakness for each piece. Spend the rest of the session drilling the three weaknesses. Then one final concert run.	32 min
Day 6	Celebration	Final concert run. Record it. This is your course completion recording. Listen back and compare to your Week 1 recording of open strings. Complete the Phase 4 Milestone Checklist in Progress Tracking. Complete Final Assessment. You are a guitarist.	30 min

Course complete. You have performed a three-piece concert demonstrating strumming, melody, fingerpicking, power chords, dynamics, and expression. You can read TAB, play scales, improvise, and perform songs from rock, metal, Hindi film, folk, and blues traditions. Everything that comes next builds on this foundation.

Ongoing Practice Plan — After the Course

Once you complete all 24 sessions, use this daily plan to maintain and build on your skills:

Block	Time	Activity
Warm-Up	5 min	Finger stretches + C major scale and Am pentatonic at 65 BPM + tune
Technique	5 min	Rotate daily: Mon = barre chord holds, Tue = fingerpicking (Travis on 3 chords), Wed = syncopated strum on pop progression, Thu = improvisation (one 12-bar chorus), Fri = slide and hammer-on/pull-off drills
Repertoire	10 min	Play two songs from your repertoire — choose different genres each day
New Learning	10 min	Learn a new song using your existing skills. Find chords online for a song you love and work out the strumming pattern by ear

What comes next: Review Whats Next for your options — Grade 1 exam, intermediate course, deeper improvisation, or full barre chord mastery.

Tips for Phases 3 and 4

Technique rotation matters. You now have many techniques: strumming, picking, fingerpicking, hammer-ons, pull-offs, slides, palm muting, barre chords. If you only practise one per day, the others decay. The consolidation days and review blocks keep everything active.
Improvisation is daily practice. After Week 22, play at least one 12-bar chorus of free improvisation every day. It does not need to sound good — it needs to happen. Comfort with making up music grows from repetition, not from waiting for inspiration.
Record your concert pieces in Week 24. This is your proof of completing the course. When motivation dips in future months, listen to it. Then listen to your Week 1 recording. The contrast is the best motivation there is.
The F barre chord takes months. Do not be frustrated if it is still inconsistent by Session 24. Keep doing the 10–15 second hold exercise daily. Most guitarists take 2–3 months of daily practice before the barre chord feels natural. You are on the right timeline.
Performance is a separate skill from practice. Practising a song section-by-section is different from performing it start-to-finish without stopping. In Weeks 23–24, prioritise full run-throughs over isolated drilling. The goal shifts from “play it perfectly” to “play it all the way through with confidence.”
Cross-reference your progress. Use Progress Tracking for milestone checklists and the chord transition speed test. Use How To Practice for the small-section method when you hit a wall on any exercise.