how to trainning my fretting

Hi, Tommo I just watched the fretting-related content in Synchronicity, and I think it’s exactly what I need. I also did the “Testing The Fretting Matrix” test, and it seems that the middle position is my sweet spot—I perform best there. The video I’m sharing shows me in that position using a specific fingering shape and playing all four patterns, both ascending and descending. But I’m still a bit confused. My understanding is that the fretting-hand material is about finding fingerings that suit you and then becoming fluent at combining those fingerings with some common patterns. What I don’t quite understand is the learning roadmap. I’m guessing that with the roll patterns, I should use a speed that’s as fast as possible, apply chunking that works for me, and avoid gaps between chunks. Once I can do the roll patterns well, I can move on to the Core Fretting Patterns and apply the same requirements as with the roll patterns. Then I would combine that with Single-String Shifting and Vertical Scales. Is that the intended order? Right now, though, I feel like when I do roll patterns, I tend to fall apart after looping them multiple times (for example: fretting the wrong note, extra noise, uneven note lengths/accents). At very high speeds, it’s hard to monitor my playing in real time—so I guess recording audio and video is the only option. But when I watch the video, I can clearly tell there are problems, yet when I play fast again I mess up without even noticing. If I slow down, it feels like it doesn’t help my high-speed playing, and using a metronome doesn’t seem like a good solution either. It kind of feels unsolvable. My second confusion is about automaticity. With all these legato patterns, from what I understand I have to make the patterns “automatic.” To me it’s like typing on a keyboard: I can type very fast with high accuracy, and I don’t even know how I learned it. So besides repeating over and over, are there any techniques that can help us reach that automaticity faster—especially when it’s a new pattern that still feels awkward to me? My third confusion is that the end goal is obviously to use these patterns in real music, and songs come in many different tempos. Even if we solve the issues above and can play very fast without a metronome, once we have to lock in with a beat, it suddenly feels totally different—and awkward again. That’s a lot of questions. I hope I described them clearly. Looking forward to your reply—haha.