@Ashwini Nepal -- Great to see you posting and working hard on these. Your chord grips and picking technique have improved noticeably. The control is getting there, and that's the foundation for everything else. Well done. Bob's feedback is spot on. With that in mind, I want to narrow the focus down to what I think is the most important priority right now: rhythm. Specifically, internalizing the rhythmic patterns before trying to execute them on the guitar. Here's the sequence I'd follow: - Step 1: Away from the guitar. Listen to the etude and sing or hum the rhythmic patterns along with it. Quarter notes, half notes, and then the Charleston. Don't worry about pitches, just the rhythm. If you can't hear and reproduce it clearly in your head, the guitar won't fix that. - Step 2: Guitar, muted strings. Once the rhythm feels clear internally, pick up the guitar and practice the strumming pattern with muted strings only. No chords yet. Just the right hand and the rhythm. - Step 3: One chord. Add a single chord shape and practice the full rhythmic pattern on it until it flows. - Step 4: Full progression. Then bring in the chord changes. This might feel like it's slow work, but it solves the problem at the root. The technical side is coming along pretty well. Locking in the rhythm is what's going to bring everything together. I'll record a short video walking through this step by step and post it here later today. Keep up, you're doing a great job here.

@Mentor Bob Kinney - That's exactly why having mentors like you in the group is so valuable. Your instincts are solid, and the students benefit from having multiple perspectives that reinforce the same direction 😎 Keep it up!

@Jörg Lemhöfer -- This is excellent, well done! Sorry for the late feedback on this one, I should have posted sooner. Really enjoyed listening to this. Your rhythm and swing are a real strength, and they carry everything else. Strong, stable pulse, great tone, and the articulation is spot on. It's musical from start to finish. Even working mostly within the fundamental harmonic material we've covered so far in the program, the way you deliver it is sophisticated. The choices you make, how you phrase, when you rest, how you move through the changes, it all sounds like a musician making decisions, not someone executing an exercise. Loved the pivot arpeggios. And I noticed the triplet articulation too, something we've been discussing in our calls, and it's landing well. The idiomatic elements are really starting to click. You've clearly absorbed the core of what we're building here: taking a standard, putting the pieces together, and turning it into an actual musical performance. That's exactly where we want to be. Looking forward to our next meeting. Keep it up with the great work.

@Paul Marsch - Thanks, Paul. Glad that you liked it :)

@Rick Harding - Wow, this is really great! Congrats, your effort is definitely paying off, Rick. I'm happy to see your evolution here. You sound quite confident and present while playing. The approaches and outlines are spot on. If you want to take one step further, you may want to check the latest workshop I did on Bert Ligon's outlines for the minor ii-Vs. I covered a couple of exemples about how to use them on a Blues turnround: https://www.skool.com/jazz-guitar/classroom/1d6ddcc6?md=9a9c2cccf253432e9f66e3f8a14a6785 You could start implementing some of the ideas as a variation of you this etude. Keep it up, this is great work!

@Rick Harding - Thank you, Rick, I'm glad to hear the workshops are helpful :)

@Miquel Bassols - Great playing -- the rhythms are sounding really good. In the pocket!

@Miquel Bassols - Awesome, keep it up!