No rhythm, no timing pressure. Land on the voicing, take a breath, tap for the next one. Tap any key on the little keyboard to hear it. Looking at your hand is allowed and encouraged.
Everything the tap-through drill covers, written out. Handy if you prefer paper thinking, or want to glance at the whole map at once.
A chord like C contains the notes C, E and G, but nothing says you must play them in that order, or all of them at once. A voicing is the version of the chord we choose for your hand: which notes, stacked how. In this song, C is usually voiced E, G, C, with E at the bottom, because it keeps your hand close to everything else it has to do. Some voicings here are just two notes, light and easy. The interlude uses four-note voicings, because more notes ringing together makes a richer, fuller sound, and that is the feeling the interlude asks for.
C voiced as E, G, C. A minor as A, C, E. F as F, A, C. G as G, B, D. This loop is your landing practice for the whole song.
Line one: C as E, G, C. Then G as just G and B, a two-note voicing. Back to E, G, C. Then F as just F and A. Then a single G alone. Then G and B. Line two runs the same way but ends more simply: E-G-C, G-B, E-G-C, F-A, then G alone, and G alone again. Notice how little your hand travels. That is the voicings doing their job.
F as F and A. G as G and B. C as E, G, C. Then a single A alone. The second time through is almost identical, but the C softens to just E and G before the final A. Two notes, then one. The chorus breathes out.
This is where the sound blooms, so the voicings grow bigger. F as F, A, C. Then D, F, A, C, which is D minor 7, four notes ringing together. Then E, G, A, C, which is A minor 7. Then D, G, B, the G chord carried on a D. And home again on E, G, C. At the bottom-note level, this section drops an octave lower for depth: F, then D, then A, then G, and it closes on a small two-note chord of E and C. Richer voicings, same gentle hands.
Rest your hand in your lap. Lift, land on the voicing, hold for a breath. Back to your lap, then land on the next one. That is one rep. Start with the bottom note only, one finger, and move to full voicings only when the bottom notes feel easy. Ten slow laps of a loop is a beautiful practice session. Slow is perfect.