Session 9: Lighter Week: The Capo and Three Minor Sevenths

Duration: 50 minutes

Break: Put the guitar down for 5 minutes at the end of Segment 3. No stretch of playing is then longer than 30 minutes.

This is a lighter week. You make three new chords, Em7, Am7 and Dm7, each by lifting one finger from a chord you know. You fit a capo and learn to read the Capo line of a chart. The session ends with the “Capo Study in A Shapes”, played three times: with no capo, with the capo at fret 2 and with the capo at fret 4.

Learning Objectives

By the end of this session you will be able to:

Form Em7, Am7 and Dm7, each from its parent chord by lifting one finger, so that every string that should sound rings: 3 times in a row for each chord
Fit the capo at fret 2 and at fret 4 so that all six strings ring when plucked one at a time: 6 strings at each of the 2 frets
Play the Capo Study in A Shapes from its three charts in the down-up strum, one chord to a measure, at 60 BPM, with no capo, with the capo at fret 2 and with the capo at fret 4: 3 passes of 16 measures
Read the Capo line and the Key line of a chart aloud and say what the A shape sounds as: 2 charts
Record Test 5 of the recorded card test with the four-sixteenths cell, and clap back and write down each one-measure rhythm when you mark it: 6 rhythms, 4 right

Where an objective gives a tempo, it is the figure for the end of this week’s practice.

Materials Needed

Your Saga SF-600C-BK guitar
A guitar pick
A clip-on tuner or phone tuner app
A metronome
A phone that records sound
A capo made for a steel-string acoustic guitar
Your 30 cell slips from Session 3, 8 new slips of paper and a pen, for this week’s ear check
Your recording of the backing of the Seventh-Chord Blues in E (Session 4), for this week’s “Your chorus” row
Handout for this session: Seventh Chords (read after the session, 5 minutes)
Reference: Chord Chart, Glossary

Segment 1 — Warm-Up and Stretch (5 minutes)

Hand Warm-Up

Open and close both hands loosely five times. Circle each wrist five times each way. Touch your thumb to each fingertip in turn. Shake the hands out.

Tune Your Guitar

Tune all six strings (EADGBE). Before you look at the tuner, guess: too low, too high or right? Then look.

Keep the capo off the guitar until Segment 3.

Warm-Up

Copy of Beginner Session 5: the D D U U D U pattern

Strum:  D     D  U     U  D  U
Count:  1     2  & (3) &  4  &

Play D D U U D U (Beginner Session 5) at 75 BPM: four measures on A, then four measures on D. That is today’s tempo. The line below is for the week’s practice.

Tempo: Start at 75 BPM, D D U U D U pattern and work up to 80. Raise the metronome 5 BPM at a time, and only after three clean runs in a row. This week, take one step at most.

A run is clean when every note or chord lands on its count, every string that should sound rings, and you do not stop.

Copy of Session 3: the Stop-Time pattern

Chord:  E5
e|--------------------------------------|
B|--------------------------------------|
G|--------------------------------------|
D|--------------------------------------|
A|------2---2---2-------2---------------|
E|------0---0---0-------0---------------|
Count:  1   &   2  (&)  3  (&) [4] [&]
Strum:  D   U   D       D
PM:     PM  PM  PM      O

Then play the Stop-Time pattern (Session 3) on E5 at 70 BPM, four measures, with the rest stop on every count 4.

Spider crawl: frets 5-8, one finger at a time, all six strings, up and down. If it pulls, stop the crawl; if it aches, stop playing for today.

Barre presses:

The simplified F (Beginner Session 17): press, pluck four strings, release. Four presses in the minute, with the hand shaken out after each.

Barre work: no more than 5 minutes a day in total. Pain rule: tender fingertips are normal. Pain in the wrist, forearm, thumb joint or knuckles, numbness or tingling, any sharp pain, or pain that lasts into the next day means stop. The full rule is in START HERE.

Segment 2 — Technique Focus: Three Minor Sevenths (10 minutes)

What a Minor Seventh Chord Is

A minor seventh chord is a minor chord with one more note added. Name the added note by counting a whole step (two frets) down from the root; in every shape of this course it lies above the lowest root.

Minor seventh chord — A minor chord with one more note added, written with m7 after the letter: Am7 is A, C, E and G. The added note is named by counting a whole step down from the root, and in the chord it lies above the lowest root. (Session 9)

Am7 is said “A minor seventh”: it is the minor chord with a seventh added, and the note added is two frets below the root, the same distance as in A7 (Session 2). In Am7 the root is A, and two frets below A is G: string 3, played open.

The Em7 Chord

Em7 is the Em chord with finger 3 lifted: finger 2 stays where it is, and string 4 now rings open.

Em7

OOOOO

EADGBe

Finger 2 (middle): string 5 (A), fret 2
Strings 6, 4, 3, 2 and 1 are played open
Strum all six strings
Notes, string 6 to string 1: E, B, D, G, B, E

Tuner check: Pluck strings 6 to 1 one at a time, slowly. The tuner should show E, B, D, G, B, E. A different letter means a finger is on the wrong string or the wrong fret.

Place Em. Lift finger 3 and strum all six strings; put finger 3 back and strum again. Do this 8 times. Then lift finger 3 once more and pluck the six strings of Em7 one at a time, as the tuner check says.

The Am7 Chord

Am7 is the Am chord with finger 3 lifted: fingers 1 and 2 stay where they are, and string 3 now rings open.

Am7

XOOO

EADGBe

Finger 1 (index): string 2 (B), fret 1
Finger 2 (middle): string 4 (D), fret 2
Strings 5, 3 and 1 are played open
Do not play string 6
Strum strings 5 to 1 (five strings)
Notes, string 5 to string 1: A, E, G, C, E

Tuner check: Pluck strings 5 to 1 one at a time, slowly. The tuner should show A, E, G, C, E. A different letter means a finger is on the wrong string or the wrong fret.

If a string is muffled, the finger on the string next to it is leaning on it: arch that finger more.

Rest the pick on string 5, then strum from there.

Place Am. Lift finger 3 and strum strings 5 to 1; put finger 3 back and strum again. Do this 8 times. Then lift finger 3 once more and pluck strings 5 to 1 of Am7 one at a time, as the tuner check says.

The Dm7 Chord

Dm7 is the simplified F with finger 3 lifted: the two-string barre and finger 2 stay where they are, and string 4 now rings open.

Dm7

XXO

EADGBe

Finger 1 (index) barres strings 2 (B) and 1 (high e) at fret 1
Finger 2 (middle): string 3 (G), fret 2
String 4 (D) is played open
Do not play strings 6 and 5
Strum strings 4 to 1 (four strings)
Notes, string 4 to string 1: D, A, C, F

Tuner check: Pluck strings 4 to 1 one at a time, slowly. The tuner should show D, A, C, F. A different letter means a finger is on the wrong string or the wrong fret.

Rest the pick on string 4, then strum from there.

Press the simplified F, lift finger 3, and pluck strings 4 to 1 one at a time, as the tuner check says; then release and shake the hand out. Four presses in the minute. These presses are barre work: they count in the day’s 5 minutes.

If a string does not ring:

The first fix is for any string. The second is for strings 2 and 1 of Dm7, under the barre. Read them; there is no playing here.

If a note buzzes: (1) move the fingertip right up behind the fret wire; (2) stand the finger on its tip; (3) only then add the smallest extra pressure that clears the buzz.
If the tuner shows the right letter but the note is dull or buzzing, do not press harder. Move the finger closer to the fret wire and try again.

Dm7 has no card in the Rotation row: it is a barre chord, and you practise it as presses. Write its card now all the same: Dm7 on the face; on the back “Strum strings 4 to 1 (four strings)”, the letters D, A, C, F, and under them the sentence of the chord cards that begins “If the shape will not come” (Session 7). Keep it out of the pile: Session 12 and the checkpoints use it.

Segment 3 — New Learning: The Capo (15 minutes)

What a Capo Does

Capo — A clamp placed across the fretboard to raise the pitch of all strings. With a capo at fret 2 every open string sounds two half steps higher, and frets are counted from the capo. (Session 9)

A capo at fret N raises every open string by N half steps. You finger and name each chord as its shape, counting frets from the capo, and it sounds N half steps higher than its name.

Chord shape and sounding chord — The shape is the finger pattern, named as it is with no capo; the sounding chord is what is heard. With a capo at fret 2 the D shape sounds as E, and the chart still calls it D. (Session 9)

Count one half step up from a shape’s name for each fret of the capo. For the four shapes of today’s study:

Shape	No capo	Capo at fret 2	Capo at fret 4
A	A	B	C sharp
D	D	E	F sharp
E	E	F sharp	G sharp
G	G	A	B

Fitting the Capo

Tune first, with the capo off.
Lay the capo straight across all six strings just behind the fret wire of the fret named, not on top of the wire and not in the middle of the fret.
Use only as much pressure as makes every string ring.
Pluck the six strings one at a time, with the capo on.
If a string buzzes or is dull, move the capo closer to the fret wire before adding any pressure.

Do it now at fret 2, by the five steps. Then take the capo off.

With the capo on, you count frets from the capo.

The Capo Line

Capo line — The line under the title of a chart or TAB that is played with a capo, in the form “Capo: fret N”. The key line under it names the shapes and what they sound as, for example “Key: A shapes (sounds in C sharp)”. (Session 9)

Capo: fret 2

Key: A shapes (sounds in B)        Time: 4/4 (four beats in a measure)

Example, 4 measures:

| A    | D    | E    | A    |

A line such as Capo: fret 2 means: put the capo at fret 2 before you play. The chord names in the chart are the names of the shapes you finger; the Key line says what they sound as.

Read the example aloud: the capo goes at fret 2; the four shapes are A, D, E and A; the Key line says the A shapes sound in B. The example is for reading, not for playing.

Ear Drill: Clap the Cells

Clap each kind of cell on four clicks in a row, one kind after another, with the metronome at the test’s tempo, saying the count aloud. Then turn over four cell slips in a row and clap the row twice.

This is a drill, not a test: you know each answer as you play it.

Copy of Session 3: The quarter cell on each beat of a measure

The quarter cell on each beat of a measure
Count:  1   2   3   4

Clap on every count that is written, and stay silent on a count in brackets. Say the count aloud as you clap, including the counts in brackets.

Copy of Session 3: The two-eighths cell on each beat of a measure

The two-eighths cell on each beat of a measure
Count:  1   &   2   &   3   &   4   &

Copy of Session 3: The rest cell on each beat of a measure

The rest cell on each beat of a measure
Count: [1] [2] [3] [4]

On a click, quarter = one clap, two eighths = two even claps, the first on the click, and rest = no clap: the click sounds alone.

The four-sixteenths cell on each beat of a measure
Count:  1   e   &   a   2   e   &   a   3   e   &   a   4   e   &   a

On a click, four sixteenths = four even claps, the first on the click.

Clap the drill once now with the metronome at 50 BPM, the test’s tempo from this session: each of the four kinds of cell on four clicks in a row, saying the count aloud. Four claps to one click is new here, in clapping only: when you strum sixteenth notes, the metronome still clicks eighth notes.

A worked rhythm of one measure, built from four slips:

Click	Slip	Claps on that click
1	quarter	1
2	four sixteenths	4
3	two eighths	2
4	rest	0

Test 5, rhythm recall, one measure with the four-sixteenths cell. The pile is 38 cell slips: the 30 of Session 3 and 8 marked “four sixteenths”. An item is four slips in a row from left to right: the four beats of one measure. Record with the metronome sounding at 50 BPM, one cell to a click. For each item say “1, 2, 3, 4” with four clicks, then clap the row twice through without a break. Count in your head while you clap: if you said the count aloud, the recording would tell you the answer. Record six items. On each click the claps name the cell: none is “rest”, one is “quarter”, two are “two eighths”, four are “four sixteenths”. To answer, listen to an item, stop the recording, clap the rhythm back once, and write the cells you clapped, in order. Write each cell as the number of claps on its click: 0, 1, 2 or 4. To mark, deal the key pile four slips to an item. A rhythm is right only if every cell matched.

Write 8 new slips now, each marked “four sixteenths”, and add them to your 30 cell slips of Session 3. Then turn over four slips in a row and clap the row twice, as the drill says.

The test is the recorded card test (Session 2). Record it after the session, and mark the recording on your fourth practice day.

Break: 5 minutes. Guitar down.

Segment 4 — Piece Workshop: Capo Study in A Shapes (15 minutes)

“Capo Study in A Shapes”

Credits: Written for this course.

What this is: A study: an original exercise written for this course. It is not a song. It is 16 measures in 4/4 in the down-up strum, one chord to a measure, on four chords you know: A, D, E and G. You play it three times: with no capo, with the capo at fret 2 and with the capo at fret 4. The shapes and their names are the same each time; the Key line of each chart says what they sound as. The last measure is one downstroke, left to ring. Not yet play-tested.

Key: A major, then A shapes (sounds in B), then A shapes (sounds in C sharp)

Time: 4/4

Tempo: 60 BPM, strumming D/U (down on the click, up between clicks) all week. It does not go up this week: the piece is new.

Strumming pattern: the down-up strum, one chord to a measure. Measure 16 is one downstroke, left to ring.

"Capo Study in A Shapes" - chords

Key: A major        Time: 4/4 (four beats in a measure)

Study, 16 measures:

Measure:   1      2      3      4
         | A    | D    | A    | E    |

Measure:   5      6      7      8
         | A    | D    | E    | A    |

Measure:   9      10     11     12
         | A    | G    | A    | D    |

Measure:   13     14     15     16
         | A    | G    | E    | A    |

Measure 16, the last chord: one downstroke on count 1; let it ring.

"Capo Study in A Shapes" - chords

Capo: fret 2

Key: A shapes (sounds in B)        Time: 4/4 (four beats in a measure)

Study, 16 measures:

Measure:   1      2      3      4
         | A    | D    | A    | E    |

Measure:   5      6      7      8
         | A    | D    | E    | A    |

Measure:   9      10     11     12
         | A    | G    | A    | D    |

Measure:   13     14     15     16
         | A    | G    | E    | A    |

Measure 16, the last chord: one downstroke on count 1; let it ring.

"Capo Study in A Shapes" - chords

Capo: fret 4

Key: A shapes (sounds in C sharp)        Time: 4/4 (four beats in a measure)

Study, 16 measures:

Measure:   1      2      3      4
         | A    | D    | A    | E    |

Measure:   5      6      7      8
         | A    | D    | E    | A    |

Measure:   9      10     11     12
         | A    | G    | A    | D    |

Measure:   13     14     15     16
         | A    | G    | E    | A    |

Measure 16, the last chord: one downstroke on count 1; let it ring.

Read the three charts aloud before you play. The sixteen boxes are the same in all three; only the Capo line and the Key line differ. The chords are A, D, E and G, all from the beginner course. Nothing is played in this step.

How to Learn This Study

Step 1 — The chord map, with no capo: Play the sixteen boxes of the first chart with one downstroke on count 1 of each, at 60 BPM, after four clicks counted in.

"Capo Study in A Shapes" - the chord map, one strum to a measure
Chord:  A
Count:  1  (2) (3) (4)
Strum:  D

Strum on beat 1 and let it ring; move during beats 3 and 4.

The block is one measure of the map. Play all 16 measures of the first chart this way, once, at 60 BPM.

Step 2 — The three new changes: Play measures 9 to 16 alone, still with one strum to a measure at 60 BPM, twice: they hold A to G, G to A and G to E.

A to G comes in measures 9 to 10 and 13 to 14, G to A in measures 10 to 11, and G to E in measures 14 to 15. Before the first turn, read how they move:

A to G: Nothing stays. Finger 1 lifts. Finger 2 goes from string 3 to string 5 (fret 2). Finger 3 goes from string 2 fret 2 to string 6 fret 3. Finger 4 lands on string 1 fret 3.
G to E: Finger 2 is an anchor finger: it stays on string 5 fret 2. Finger 3 goes from string 6 fret 3 to string 4 fret 2. Finger 4 lifts. Finger 1 lands on string 3 fret 1.

G to A is the move of A to G the other way: each finger makes its move back. Play the 8 measures from measure 9 to measure 16 as the chord map at 60 BPM, twice, each time after four clicks counted in.

Step 3 — The down-up strum, with no capo: Play the first chart once through in the down-up strum at 60 BPM; measure 16 is one downstroke, left to ring.

The two blocks below are the strum of the Strumming pattern line: the down-up strum for each of measures 1 to 15, and the one downstroke of measure 16.

"Capo Study in A Shapes" - the down-up strum
Chord:  A
Count:  1   &   2   &   3   &   4   &
Strum:  D   U   D   U   D   U   D   U

"Capo Study in A Shapes" - measure 16, the last measure
Chord:  A
Count:  1  (2) (3) (4)
Strum:  D

Play the first chart once through this way at 60 BPM, after four clicks counted in.

Step 4 — The capo at fret 2: Fit the capo at fret 2, pluck the six strings, and play the second chart once through in the same way.

Fit the capo by the five steps under “Fitting the Capo” in Segment 3, and pluck the six strings one at a time. Then play the second chart once through in the down-up strum at 60 BPM, after four clicks counted in. The shapes and their names have not changed.

Step 5 — The capo at fret 4: Seat the capo again at fret 4, pluck the six strings, and play the third chart once through. Then take the capo off.

Lift the capo off, seat it again at fret 4 by the same five steps, and pluck the six strings one at a time. Then play the third chart once through in the down-up strum at 60 BPM, after four clicks counted in. Take the capo off when you have finished.

What it should sound like: With the metronome at 60 BPM, the first strum of every measure falls with a click: 16 measures in each pass. Count 1 & 2 & 3 & 4 & aloud through the 16 measures of a pass without stopping; each new chord begins on count 1. After each move of the capo, pluck the six strings one at a time and count the strings that ring: 6 at fret 2 and 6 at fret 4.

On your practice days the “Capo Study in A Shapes” row is Steps 3 to 5: the three passes. On the first practice day, play the chord map of Step 1 first. On the fourth practice day leave the row out: its minutes go to the ear check.

Segment 5 — Review and Practice Plan (5 minutes)

What You Learned Today

Em7, Am7 and Dm7, each a chord you know with one finger lifted
What a capo does, and how to fit it
The Capo line and the Key line of a chart

Common Mistakes

The open string of Em7 or Am7 is muffled — The lifted finger is still touching the string, or the finger beside it leans on it: lift finger 3 clear of the strings and arch the finger next to the silent string.
A string buzzes or is dull with the capo on — The capo is crooked or too far from the fret wire. Take it off, lay it straight just behind the wire, and use only as much pressure as makes every string ring.
The chords are out of tune with the capo on — Take the capo off, tune with the tuner, and fit it again closer to the fret wire with less pressure.
Looking for a new shape because the Key line says B or C sharp — The names in a capo chart are the names of the shapes: where the chart says A, play the A shape, counting its frets from the capo. The Key line only says what the shapes sound in.

Self-Check Questions

Play Em7 from Em and Am7 from Am by lifting finger 3, plucking the strings of each chord one at a time; then press Dm7 from the simplified F, pluck strings 4 to 1 and release. Check: the tuner shows the letters of the chord’s Notes line, string by string. Pass: every string that should sound shows its letter, 3 times in a row for each of the 3 chords, lifting the hand in between. If not: use the fixes (move the fingertip right up behind the fret wire and stand the finger on its tip), under “If a string does not ring” in Segment 2, and try again the next day.
Fit the capo at fret 2 and pluck the six strings one at a time; then seat it again at fret 4 and pluck the six strings. Check: count the strings that ring with no buzz as you pluck them. Pass: 6 of the 6 strings ring, at each of the 2 places of the capo. If not: take the capo off and lay it again, straight and closer to the fret wire, before adding any pressure, under “Fitting the Capo” in Segment 3, and try again the next day.
Play the Capo Study in A Shapes three times through in the down-up strum at 60 BPM, with no capo, with the capo at fret 2 and with the capo at fret 4, and record the three passes with the metronome sounding. Check: listen to the recording and count the measures of each pass aloud. Pass: 3 passes of 16 measures, each with no stop, and in each pass measure 16 is 1 downstroke. If not: play measures 9 to 16 as the chord map, one strum to a measure, twice a day for two days, under “How to Learn This Study” in Segment 4, and try again after those two days.
Read aloud the Capo line and the Key line of the study’s second chart and of its third chart, and say what the A shape sounds as on each. Check: compare what you said with the two Key lines and with the table under “What a Capo Does”. Pass: 2 of the 2 answers right: B, then C sharp. If not: count the half steps up from A on string 5, one fret at a time, for each place of the capo, under “What a Capo Does” in Segment 3, and try again the next day.
Read the result you wrote when you marked your recording of Test 5, rhythm recall: six rhythms of one measure. Check: the key pile, dealt four slips to an item, against the cells you wrote. Pass: 4 of 6, a rhythm counting only if every cell matched. If not: record the test again after your last practice day of this week, play “Ear Drill: Clap the Cells” in Segment 3 once on each practice day of the week you repeat, and mark the new recording on its fourth practice day.

Practice Plan for Week 9 (each practice day, 25 minutes)

Notes on the rows:

The “Rotation” row: the pile gains the chord cards Em7 and Am7, and the scale cards of the pentatonic pair, “E minor pentatonic, two octaves, open position” and “G major pentatonic, two octaves, open position”, whose tempo steps have ended. Write the four cards as you wrote the cards of Session 7.
Rotation this week, the change-test pairs: G and D7, a new chord every 2 beats at 65 BPM; Em and B7, a new chord every 2 beats at 60 BPM. One of them a day, in turn.
The “Capo Study in A Shapes” row: played as the end of “How to Learn This Study” in Segment 4 says, at 60 BPM.
Set the metronome back to 60 before the study.
The “Minor sevenths” row: only the Dm7 presses are barre work, 1 minute of the row’s 3.
The “G major scale” row: start at 75 BPM, one note per click (quarter notes), and work up to 80. This week, take one step at most.
The “Sixteenth-Note Strum Study” row: once through at 35 BPM, the metronome at 70, after one measure counted in.
Set the metronome back to 70 before the study.
Tempo: 35 BPM, the metronome set to 70 and clicking eighth notes (two strums per click) all week. It does not go up this week: the piece stays at the first tempo of the skill it carries.
Count one measure in: eight clicks, 1 & 2 & 3 & 4 &.
The “Your chorus” row: one chorus of your own over the backing you recorded in Session 4, by the rule and the tick list printed there.

This is a lighter week: one sitting of 25 minutes on each practice day.

Block	Time	Activity
Warm-Up	4 min	Movement warm-up, tune; then D D U U D U on A and D, one step up, and the Stop-Time pattern, four measures at 70; then the spider crawl at frets 5 to 8. Then simplified F: press, pluck four strings, release, for 1 minute
Rotation	4 min	One scale card, played twice. One change-test pair, played as the test at the figure its ladder has reached (80 once it is there). Two single chord cards from the pile of E1, as far as its chords have been taught. Each chord card: place the shape once, pluck each string that should sound, let go. These are the cards the end-of-course assessment uses. A chord that holds a barre is not in the pile, and that keeps Dm7 out: it is a barre chord, practised as presses, not as a card
Capo Study in A Shapes	5 min	from its chart, with the capo line: open, then with the capo at fret 2, then at fret 4; on the first day, first as its chord map, one strum to a measure
Minor sevenths	3 min	Em to Em7, Am to Am7, simplified F to Dm7: lift one finger, strum, put it back
G major scale	3 min	quarter notes
Sixteenth-Note Strum Study	3 min	once through at 35 BPM (the metronome at 70)
Your chorus	3 min	one chorus of your own over your Blues in E backing

Barre rows this week: “Warm-Up”, 1 minute; “Minor sevenths”, 1 minute. Total: 2 minutes a day.

Fast strumming: if your strumming hand or forearm aches, that is tension. Stop playing for today, and next time loosen your grip on the pick.

Ear check this week: on your fourth practice day, mark the recording you made after this session. It takes 4 minutes: that day, leave out the “Capo Study in A Shapes” row.

This is your plan for the whole week. On your last practice day, answer this session’s Self-Check Questions as you play the rows that hold them: a question adds no minutes to a row and nothing to a daily limit.

All yes: go on to Session 10.

Any no: repeat this week’s plan for up to one more week and check again. If it is still no after the second week, go on, and add that item to your warm-up until it passes.

If the item is barre work, slur work, little-finger work or three-string power-chord work, do not add it to your warm-up: play it inside the row of next week’s plan that holds that work, in that row’s minutes. The daily limits do not change.

Guitar Tip — Saga SF-600C-BK

The neck of your Saga is wider at fret 4 than at fret 2. So when the capo moves, do not slide it along the neck: lift it off and seat it again, straight and just behind the fret wire. When you stop playing, take the capo off the guitar.

After the session (not part of the 50 minutes)

Read: Guitar Setup Check, the section “Fitting a Capo”. (5 minutes)
Read: Seventh Chords, the section “Minor Sevenths”. (5 minutes)
Record: this week’s ear check. Use the recorded card test (Session 2) with Test 5, rhythm recall, as Segment 3 gives it. Pass: 4 of 6. (4 minutes)