I think this course is very different from what was offered in BGU regarding rhythm. In BGU the rhythm examples are basic, foundation material only. Like jmin says, this course offers a lot in the way of embellishing. Something not insignificant at all. Good rhythm requires as much attention as soloing. It's the lifeline of a song. With strict 12 , 8, 16 bar forms there is a lot of room to make rhythm sound full and complete or alive. I really like the attention given to chord inversions and substitutions - something lightly touched on in BGU. We can play 4 bars of the same exact I chord or we can have some fun and add bass notes, middle notes, treble notes, ADDITIONAL, different chords to fill the time in a very musical way - and sound very interesting doing it. By the time I got to Section 2: Shuffle Rhythm Fills & Variations I was thrilled with the options available that I've heard in better rhythm playing that would have taken me a very long time to figure out on my own.
I'll say this course will take you to a status a cut above the generic hacker and strummer. The world has enough of them. It doesn't need me in that mix.
The stretch between the BGU rhythm instruction and this course would have been a difficult gap for me to cross without help.
Listen to Charlie Musselwhite's guitar player, Andrew 'Jr Boy' Jones. 52 Rhythm Fills And Variations has put rhythm playing like this within my reach.
A couple of my favorites of his regarding rhythm. There are many more:
Now that I think of it, I started working in this course before I started BGU. The things I learned in this course I applied to expanding the BGU rhythm lessons right from the start. I take what I learned in this course and work the hell out the more basic BGU rhythm lessons, going on frequent departures as I hear things that interest me.
I highly recommend this course. I take rhythm very seriously.
See you down the road!