One B minor chord. You hold it, you never move it, and the progression happens anyway — because underneath it a single bass note steps down: B, A, G, F♯, then home to B. Written out, that's Bm – Bm/A – Bm/G – Bm/F♯: one triad and three Bm slash chords. The Rhythm part explains what those slashes mean. If you've heard the bass walk downward under "A Whiter Shade of Pale," you already know the sound.
All three parts are the same five-bar piece, an original by Steve Anthes: B minor, ♩ = 80, 4/4 with eighth-note triplets that give it a 12/8 lilt, standard tuning, bars 1–4 repeated and then one held final bar. Those falling notes are four consecutive degrees of the B natural minor scale. What changes from part to part is which string carries the bass — or whether it's there at all — and what's happening above it. The bottom line here is the bass line.
Rhythm puts that bass down on the low strings. One shape held, one finger doing all the moving, everything left ringing. Triads lifts the same descent up an octave and onto one string — four notes, while three notes at the seventh fret sit still. Those same three notes end up carrying four different chord names. Lead takes the bass away entirely: a B minor pentatonic melody that stays in one box, without a single position shift, because those notes fit everything the missing bass line is doing underneath.
Three treatments of one idea, not three parts of one arrangement. Work straight through in order, or take whichever part fits the week you're actually having. Just know the Lead is Intermediate, and the hardest of the three.
