Everybody wants to shred up and down the neck, and then wonders why their chord changes sound like a cat falling off a shelf. Here is the unglamorous truth: the smoothest players barely move their fingers at all. They just let each note step to its nearest neighbour and call it art.
This little clip is exercise #22 in my voice-leading series: minor triads walked through the circle of fourths on the middle three strings — B, G and D. Three strings, three notes, twelve keys, and a whole lot of "wait, I only moved one finger?" It pairs nicely with plain old triads and inversions if you want the full picture first.
How this minor triad voice leading works
A minor triad is just root, minor third and fifth — three notes. On the B, G and D strings you can spell that triad in three inversions, and the circle of fourths (C to F to B♭ and onward) marches you through every key. The trick is that from one chord to the next, most notes are already sitting right there or a fret away. Instead of jumping to a fresh grip, you keep whatever notes are shared and let the rest slide by the smallest possible interval. That is voice leading: moving each "voice" the shortest distance, so the top line becomes a little melody of its own.
The concrete takeaway: pick one inversion, then for the next chord in the circle, force yourself to find the closest shape rather than the one you already know. Do it slowly, name the root, third and fifth out loud, and you are secretly learning the whole middle of the neck. If you want the harmony behind it, my note on the minor key explains why these three notes sound the way they do.
Warning: once your ears get used to voice leading this smooth, ordinary chord grips start to feel like slamming doors. I take no responsibility for your sudden snobbery. If you want the PDF and Guitar Pro file so your fingers can suffer along at home, they live on my Patreon.