Here is the recording for Etudes 1.3 and 1.4, now with Marc's sound slice, guitar might not be audible very clearly. Still learning to record my guitar with the audio interface 😊. At this point my focus is to get the Charleston Rhythm down. Normally while practicing I play 1.1 to 1.8 with Marc's sound slice at 100% tempo.

I just came back from vacation and now have time for recording Etudes 1.1 and 1.2. I tried using the ireal pro backing track 80 bpm. Timing is consistent at 80% when I play along with Marc's soundslices. Here is the first try with ireal pro backing track. @Coach Gabriel Sebrian

This post is for @Casey Childers @Miquel Bassols @Chad Bird and any other potential Galbriath comping travelers. Part of the difficulty beyond the complex chord structures is counting the rhythms. It gets easier once you recognize the recurring Charleston rhythms. The other key lesson in Shiny is anticipation of the chord change by playing on the 4th beat or the & of 4. I marked up the first 3 pages of Shiny with the reoccurring rhythms (see attached). Things to note: - Charleston's on the first beat (marked in blue) - Just in case you didn't realize that Charleston's were important, Barry starts with 4 basic Charleston's in a row - and 8 on the first 3 pages! - Chord anticipation - playing the next chord on the 4 or 4& (marked in red). Just to clue you in that it is important, Barry follows his 4 Charleston's with 5 (!) consecutive chord anticipations. He gives us 3 different approaches - play the next chord on the & of 4, play a single note on the downbeat of 4 leading to the anticipation, or play chromatically a half step above before the anticipation chord. - Charleston's on the 3 (marked in yellow) - Barry gives us another way of approaching anticipation chords - playing a Charleston on the 3 with the anticipation chord on the & of 4. Other than the standard Charleston's on the 1 - playing Charleston's on the 3 is a favorite of Barry's - there are 11 (!!) of them on the first 3 pages alone. - Charleston on the 3 with chromatic move to the anticipation chord - Barry introduces this in measure 27 and then again in measure 35 & 39 - Charleston's on the 1 & (marked in purple). This is sometimes used as a rhythmic variant to Charleston's on the first beat (see measure 19). It will emphasize the downbeat of 3 - which is helpful for the next idea - Combining Charleston's on the 1& with Charleston's on the 3 - (purple and yellow together). Yet another way to set up anticipation of the next chord. Start a Charleston on the 1 & , land on the 3, and play another Charleston that ends with a chord anticipation. This is introduced in measure 11, and then repeated 5 other times in the first 3 pages.

I took Marc's advice on the lesson and combined these 4 etudes...took a little concentration at first. https://youtu.be/fEtX5iSJYWc

Here is a first attempt with Shiny (from Galbraith), only the first 16 bars, at 125 bpm (I lowered the bpm with Amazing Slow Downer). Difficult to follow the tempo. Added problem: these days my ring finger nail broke, a tragedy after practicing fingerstyle! With the pick, it was almost like learning it all over again. 😮‍💨 I will go on with the following bars. Very nice exercise! Your indications and corrections will be welcome (specialy from the Galbraith connaisseur, Mentor Bob Kinney).