It names a note. You play it on your actual guitar, anywhere it lives on the neck. The microphone hears it and stops the clock.

There is no countdown and no wrong-answer buzzer. Once you stop getting notes wrong, the only thing left to improve is how fast you find them, so speed is the whole score.

Twenty notes, about a minute. Start on the low E and let it widen when it is ready.

Triads is act two. It names a chord, a string set and an inversion. You play the three notes one at a time, in any order, and each one lights up with its job in the chord: root, third or fifth. Same clock, same score.

Play any note. The bar should move and the tuner should name what it heard. If it stays flat, the mic is not reaching the page.

One string set at a time, all three inversions, until it is boring. That is the week that produces the “I can play any chord anywhere on three strings” moment. Breadth comes after.

The board is drawn headstock-left. Left-handed mirrors it, so it matches the neck you are actually looking at.