Sting

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Even Gordon Sumner MOM and children call it "" so I think we are also! read our artist bio this Rock Hall of Fame and songwriter's Hall of Fame artist.

From: David Hodge

Here is why your guitar picking speed... is not improving

Importing URL (http://www.guitarnoise.com/wp-content/themes/hanoi/print.css); guitar NoiseHomeLessonsForumsBlogPodcastHelpAboutNewsletterDonate what's new easy songs for beginners intermediate songs guitar riffs profiles hot lessons here is why reviews your guitar picking speed is not improving... Share

If are not at the speed of at least 200 BPM in sixteenth notes or play (but really want), latest article significantly, this objective closer you then help Mike Philippov.

By: Mike PhilippovTopics: practice TipsGuitar Pro TabsGood news and bad news

First, the good news: you can develop fast picking speed on guitar, if you fully functional limbs and desire, success haben.Weitere great news: have to practice none, eight hours a day, these capabilities to entwickeln.Erfordert but very often improve their guitar technique some seemingly working on refining

Where you last night - simple songs for beginners # 43 sleep

Importing URL (http://www.guitarnoise.com/wp-content/themes/hanoi/print.css); guitar NoiseHomeLessonsForumsBlogPodcastHelpAboutNewsletterDonate what's new easy songs for beginners intermediate songs guitar riffs profiles reviews hot lessons where you sleep last night - simple songs for beginners # 43 share

Get a bit of a preview of the new

Newsletter BD 3 # 107-1 February 2010

ShareBy: David Hodge

Greetings,

Welcome to volume 3, issue # 107 of guitar noise news!

Top in this issue: Greetings "news and AnnouncementsTopic MonthGuitar noise a ArtistNew lessons and Darrin KoltowEvent HorizonRandom ThoughtsGreetings ArticlesComing AttractionsExploring guitar news and announcements"

Hello! and welcome the 1 February 2010 edition of guitar noise news, your twice-a month newsletter of guitar noise (www.guitarnoise.com).

Paul of behind the scenes was concerns, to improve the site and visit the new Features.Wenn cool in some "What's new" page you will find the new recommended "by our readers" Bookwheel with guitar and music instruction books, the wonderful some guitar noise contributor Jamie Andreas and Tom Serbian geschrieben.Sehen also some new books such as "the musician's way" Gerald click stone and some books like "the complete idiot Guide to the play Rock Guitar," which will be available on March 2.

I am very pleased with this new feature and I work with Paul regularly update with books, we think guitar noise readers in your personal libraries, John Ganapes excellent "Blues you can use" tutorials do.

If you have recommendations, you send along to me at the dhodgeguitar

Auto Correct In Guitar Practice

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Is it better to practice a piece slowly at first or quickly? Teachers and players usually recommend slowly, but there are instances where fast might work. Jamie explores why both methods work, but more importantly details how to recognize and determine when one method is better than the other.

By: Jamie AndreasTopics: practice tipsGuitar Pro Tabs

This question was a good opportunity to shed some light on some common areas of confusion regarding guitar practice…

Hi Jamie,

I have a question about picking and building up to higher speeds.

I read somewhere that the late, great Shawn Lane once said, “Generally speaking, when practicing fast licks, it is supposed to be better to practice at a slow tempo and build up to speed. But my idea is ‘play as fast as you can even if you make mistakes.’ In the beginning, you may lack precision but you can get over that. First gain speed and gradually get clearer. It’s a better way – at least I think so.”

This runs counter to what you and most other instructors teach. Obviously it worked for Shawn so it can’t be completely flawed, but is there anything of value in this statement for normal humans?

In a similar vein, Michael Angelo recommends picking as fast as you can first, then using that motion as your basic template for picking technique and practicing slow from there on, the idea being that the first picking-hand position you go with is the most natural and comfortable for you (I’m assuming this isn’t directed at complete beginners). Where do you stand on that idea?

Thanks for any comments and keep up the good work,

Bill

Hi Bill,

Those are very interesting questions, and even though the contentions made are almost diametrically opposed to what I and many other teachers would advise, I think they deserve examination, and I even believe there is value to be discovered. In any case, as you say, when a great player says something, I always listen closely. They may not understand completely all the implications or related factors of what they are saying, but there is most likely something valid in their perceptions.

First of all, yes, I think we can safely assume that these procedures worked for these people, at least some of the time, and at least at some period in their development. However, we have no way of knowing if they could solve all their problems this way, and if they at times needed to employ other methods. We have no way of knowing if there were things they wanted to do and never were able to do, because these methods were not sufficient. And, we have no way of knowing if these methods only became effective after a certain period of technical development had taken place.

I think we should keep these uncertainties in mind when examining this issue.

And as long as we are talking about things that we can and cannot be certain of, I will tell you this without a doubt: for the vast majority of people attempting to learn guitar, these methods will bring exactly what they do bring for the thousands of guitar students I have met in my life: these methods of practice and problem solving will bring almost insurmountably disastrous results! I am talking about technique that is so flawed, so limited, and so ingrained into the players muscle memory that most people, without the benefit of the remedial techniques GuitarPrinciples offers, will simply never overcome them.

So, what is going on here?

I really think that when Shawn Lane says “in learning a new lick, just keep playing it over and over. The mistakes will gradually get worked out and it will get cleaner,” he is talking about learning a lick that is already well within the level of your ability. It is on the same plane as your horizontal growth at the present time. It does not contain movements that are beyond you at the moment, things you cannot do comfortably or smoothly at any speed.

There are many things I can play perfectly at sight, having never seen the music before. That is because (aside from knowing the neck well), there is nothing there I have not seen a million times before, and nothing there I cannot execute with almost no conscious thought. Then, there are things I can play pretty well, perhaps not up to tempo, and perhaps with some mistakes. I will have to work on them a bit, because they are simply more complex, and perhaps contain movements I am not so familiar with, or are completely new. Perhaps I need actual physical development of some muscle or nerve connection to play it well.

Then, there are really difficult things I have never played before (remember, I play mostly classical). The best players have to take months to perhaps a year to do the kind of analysis and practice necessary for extremely difficult music (and bring it to “performance level”). It is very important to keep in mind that many styles, especially improvised styles, use a relatively small number of discretely different movement patterns. If you are a rock or blues player, most likely, you are doing essentially the same movements, perhaps in different contexts and with different inflections, throughout your whole playing life. Even new licks are not too different than the ones you know. Of course, every player is going to fall somewhere on this spectrum in terms of variability of movement patterns, and that will influence the practice methods you find effective.

Auto Correct

I actually have a name for this idea of “doing something over and over until it starts coming out right.” I call it “auto-correct.” I use it myself, and I use it with students. However, it is important to know how to use it, when to use it, and especially, when not to use it.

I may have a student sitting in front of me, playing something we have worked on awhile. He or she may mess up a passage, and I will say “okay, take that part again.” But, I will add these extremely important words “increase your attention and intention before and during this next attempt.” In other words, some mistakes will occur simply because we are not paying enough attention to what we are doing, or, even more likely, are not thinking ahead to our next series of movements, including hearing the music in our heads as we play. So, my first line of attack with mistakes where music has already been practiced is “auto-correct.” It very well may happen that by simply going over the passage a few times with strong mental focus (and it is always a big help to play it mentally before each new attempt), it starts to improve. But, if the mistake does not yield to this approach, it is a good indication that something else is going on, that the problem is not in the mind, so to speak, but in the fingers.

It could be bad fingering, unclear fingering, erratic fingering, physical tension in any part of the body; a million different things. At that point, a diagnostic process of analysis must be conducted, and there is only one way to do it. If you doggedly stick with “auto-correct,” the methods you have asked me about, you are going to be a seriously frustrated guitarist, because when the problem is of this nature, it does not fix itself!

Another point to appreciate is this: in my book “The Deeper I Go,” I define intelligence as “responsive awareness.” I also make the point that there are many domains of intelligence, and physical intelligence is one of them. Some people’s bodies are more naturally “responsively aware” than others. For these people, auto-correct is going to work at an earlier date in their development, and more strongly. However, all of us can teach our bodies to be responsively aware, to be “intelligent,” that is what proper training is all about. The more sophisticated our technique becomes through training, the more “auto-correct” will work for us, and in increasingly complex situations.

But, much more important than all of this is to know what to do when auto-correct is not solving our problem, which is 99% of the time! What must be done is, essentially, the Basic Practice Approach (the fundamental practice methodology taught in The Principles). I will say to the student having trouble with something, “play the passage for me no tempo; show me the bottom of your practice.” That will tell me all I need to know. I will see the discomfort the student is truly experiencing (without knowing it), and I will see what they are doing to create or exacerbate that discomfort. I see what is wrong, why it is wrong, and what to do about it, and then we get to work.

Expanding Upon A Basic “Template”

Now let’s talk about this other idea of learning a skill by simply having a go at it as fast as you can, observing the action, and assuming that the details of that action are the best possible ones for you to use, and so should be developed.

Well, my first reaction is “try it, see how it works.” I imagine it may be a good idea, and bring good and maybe the best results for some very few people, but again, all of my decades of teaching experience have shown me otherwise. In fact, my basic attitude is, all things being equal, the untrained fingers are incredibly stupid, and can almost always be depended upon to do things in the worst way possible. In fact, it would usually be better to watch what your fingers do, and then train them to do just the opposite!

Now, please remember I am not laying down hard and fast “this is the way it is for everybody all the time” type of rules, because there are none. There are so many variables involved in this whole subject that no rules could ever hold true always. My philosophy is to listen to everybody, think about everything, try everything you have a mind to, and then assess and analyze results. We just really need to be careful in this whole endeavor. I would not be surprised that someone who based their picking technique on the first available action template that presented itself would never know whether they were, by doing so, making many other skills inaccessible to themselves down the road. We frequently hear of long time players who wish they could change this or that about their technique, having discovered superior approaches later in life.

So, those are my thoughts concerning the provocative statements made by these great players. If I were to summarize my reaction to the substance of your questions concerning the statements of these players of great natural talent who, as great players often will, have temporarily taken on the role of teachers, I would say this: it is a perfect illustration of why so often great players are lousy teachers, unless they are teaching already great players!

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Rock guitar book GiveAway

stores from Tuesday, March 2 we also removed 15 copies of it between now and five copies per month be the end of May. Enter this competition, you must send an e-Mail with the following information:

Pentamodal idea

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The pentatonic scale is without doubt one of the guitarist of chief tools.Can modes, confusing on the other hand sein.Paul Tauteroff shows how guitar players who are familiar with the pentatonic scale to learn and use modes in your lead guitar can play.

From: Paul TauterouffTopics: solo and ImprovisationGuitar Pro tabs

Summary: The pentatonic scale is undoubtedly one guitarist of chief Tools.Modi, can be confusing to the other side. Paul Tauteroff shows how guitar players who are familiar with the pentatonic scale to learn and use modes in your lead guitar can play.

Author's Note: previously know about the five smaller Pentatonische pattern box and 7 modal forms is useful for understanding this lesson but not required.

As guitarist I am primarily an autodidact and no formal music theory training in the early stages of believe play haben.Die first credits I have learned the five positions or field pattern of the minor pentatonic scale.I wrote the charts by hand and play (and draw) you constantly.

When I first seven modes of large scale was suspended, the same; have outlined the fretboard charts studied how the shapes fit together, and so on.Even after I had that saved the modal forms, I was still actually call a difficult time my lead to play.Scale seemed accustomed to the five field pattern of the pentatonic seven forms like too many for always.

Then I had an idea: what if I modes of large scale in five scale framing, divided smaller Pentatonische field patterns based on the five, I already with familiar was? in this way, I have a few new notes about each of the five pentatonic fields! have lack of a better name, I decided the call.

To illustrate, let us work, an example for a scale often, lead play guitar in rock - used is the sixth mode of the major scale Lipari mode (also known as the natural minor scale) .Und leave us the key of A minor (relative minor C major) for our examples verwenden.Dies means that we each have starts five forms on a note of A minor Pentatonische scale (A, C, E, D and G).

Here is our first Pentamodal form, Lipari mode:

Learn root movements in a chord progression

ShareBy: Darrin Koltow 12 February 2010

If you get a chord progression, try you this in a way that will help you understand and effectively apply and helps in understanding, to learn the root movements between the chords as music this way funktioniert.Auf.

Take the simple chord progression C, most, F, G7, and then back to C.Can only enough about music theory and technology, to those letters in chord shapes turn wissen.Aber then someone comes and says "Hey, we take the progression in g major." And you say "Safe" and start sweating, drag your preferred wireless device and click on Google "Chord change gradients of C in g major".

Perhaps this method is actually works, but the satisfaction of knowledge of the root movement of the original progression and apply that same movement in g major is missing.Know the root movement can statements as follows: "the first progression in the root starts C, fails a minor third to most and down again from there major third F and a major second to G7."Sounds kind of mechanical but mechanical can be useful.

Convert this long sentence in this stream: start at the root (C) extend an m3, down M3, M2.Alternativ, convert these movements in cell numbers: start at C, go 3 frets, left (on fretboard) 4 frets, until 2 frets Links.Wenn a few basic bar chords know, can use these series of numbers, any key to spielen.Sie must start to C; take the progression in any key.

The next time we can translate chord name in cell numbers so that you immediately a chord progression root movement find under review.

Thank you for reading.

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Newsletter BD 3 # 108-15 February 2010

ShareBy: David Hodge

Greetings,

Welcome to volume 3, issue # 108 of guitar noise news!

In this issue: Greetings top news and AnnouncementsTopic MonthGuitar noise ArtistNew lessons and Darrin KoltowEmails ArticlesExploring guitar? we get emails!HorizonRandom ThoughtsGreetings, event news and announcements

Hello! And a very good year of the Tiger to you all!

Where do not know, mark yesterday (February 14, 2010) the launch of the Chinese new year.I hope it reminded to take scare away in the Nien red.

Or perhaps red bore you available, was yesterday also Valentine's day.Please you tell me you've forgotten! the Nien could in fact be fearsome and violent what devour with his tendency to something in sight, whether cultures, animals or the odd people or two but the Nien is nothing compared to a beloved thinks you forgot Valentine's day!

AH, all was good, gestern.Heute welcome to issue 15 February 2010 of guitar noise news, your twice-a month newsletter of guitar noise (www.guitarnoise.com).

I would like to thank all with book recommendations previously ist.Falls written me you seen the homepage have one while, Paul's was this busy very behind the scenes tweaking controls, and one of the cool things you on the home page and the page "what's new see" a new "recommended by our readers" Bookwheel with guitar and music instruction books, the wonderful some guitar noise contributors Jamie Andreas and Tom Serbian written ist.Sehen you some new books, such as "the musician's way" Gerald click stone and some books like "the complete idiot Guide to the play Rock Guitar," which will be available on March 2.

As mentioned the last Zeit-Out, Paul and I hope work, this new feature quite guitar noise keep adding books we think readers in your personal libraries, John Ganapes excellent tutorials "Blues you can use" have wollen.So if you have recommendations, you send along to me at the dhodgeguitar

Newsletter BD 3 # 109-1 March 2010

ShareBy: David Hodge

Greetings,

Welcome to volume 3, issue # 109 of guitar noise news!

Top in this issue: Greetings "news and AnnouncementsTopic MonthGuitar noise a ArtistNew lessons and Darrin KoltowEvent HorizonRandom ThoughtsGreetings ArticlesExploring guitar news and announcements"

Hello and welcome to the first day of March.Here in Western Massachusetts new month comes certainly as a lion.A little snow of this last week we were right and we are from the places it all!

In addition to the weather big news around here is the arrival of "the complete idiot Guide to the play Rock Guitar" in bookstores and online booksellers tomorrow, March 2.And an event like this certainly deserves a bit of hype from guitar noise news, so that we first of two giveaways for you have. for this Buch.Es is another way much, for another book, at the end of the newsletter to read können.Rechts now, but let us work with one book...

To the arrival of "the complete idiot Guide to the play Rock Guitar" to celebrate, in stores, we have also removed 15 copies of it between now and the end of may - five copies per month geben.Um enter this competition, must you me send an email with the following information:

Your Nameyour email Addressyour mailing address (and it doesn't matter where you are in the world) the title of your favorite items to the guitar Noisethe name of your favorite rock guitarist

Send you an e-Mail per person please me at the dhodgeguitar

Good habits

ShareBy: Darrin Koltow, 12 March 2010

Here is a habit, which related directly to guitar but can have a major impact on their practice and play: keep a journal.

It was difficult to find me, too cannot change people to me gripe hear chords quickly enough or hard time, I had a Joe pass solo transcribe. But we must vent to someone else.Vent on paper.Could use a computer document but paper is besser.Es is more difficult "real" and press to point to the page, as are frustrated blood-letting makes to schwer.Es, and it helps.

Thank you for reading.

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Paul Simon

and is a member of the rock and Roll Hall of Fame. He is also one which has inspired this guitarist, whose playing millions of people, the guitar has thousands, if not, to create music for themselves. And everyone making new song seems to further advance the possibilities of music constantly traditional music from all over the world, as well as the classic rock and pop from the last century and forging something new and beautiful.

geboren.Seine was in October 1941 Hungarian Jewish immigrant parents were both teachers

Harmonisation a melody

ShareBy: Darrin Koltow, 5 March 2010

Chords a melody, has to be one of the most rewarding aspects of music, no matter what instrument you play.If you can play on their guitar chords, you can still play "broken" chords - arpeggios spielen.Arpeggios can also help singers hear the chord changes which you have sing are.

Here is an online resource that simplifies the process.

This page is a clear procedure for placing is a Melodie.Der chords Ken Rumery, Professor of music, theory and composition at Northern Arizona University.

I have outlined their musical digestion page here.

How to select a melody chords:

Plan the General behavior of the song.This includes the tune simplification. I say searches the chord notes verwendet.Suchen also melodic and rhythmic patterns.Lists the most important centre or centres in the piece.

Sketch the chords based on the results of planning Schritt.Verwenden you simple diatonic chords and simple gradients.This includes moving by Fourths, in General.Design a rhythm which complements the melodic rhythm.

Test the chords with your preferred chordal instrument.Select a piano or guitar for this or whatever you can get your hands auf.Ich would also add that you can imagine what the chords as would sound if a chordal instrument nearby hatten.Mit other words, if you now have access to a chordal instrument, use your head and good old-fashioned gut feel to to play you have created the chords.

Even better than this arpeggios which sings chords have gewählt.Oder, sing the melody and hear the root of the chord in your inner ear, selected have then you switch pages and sing the chord root, while opinions ear the tune wird.Dies play is compose, and we cannot simply at the first but incredibly involved, the reward, and do it anywhere.

Polish of the selected set of Akkorde.Wenn provides access to a guitar, piano, or computer with music software, meat, the piece and make it flow.

Add variety, including chord substitutions, harmonious sequences and other patterns which the tone suggests.

Author K.I.S.S. (keep it simple, SAM) here stressed and offers a wonderfully simple summary of what each type of chord move movement erzeugt.Um which to combine, a fourth tonality stress summary upwards by adding thirds color, move by seconds dynamics give the melody.

Thank you for reading.

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Newsletter BD 3 # 110-15 March 2010

ShareBy: David HodgeGreetings

Welcome to volume 3, issue # 110 of guitar noise news!

In this issue: Greetings, news and AnnouncementsTopic top ArtistExploring guitar with Darrin KoltowEvent horizon MonthGuitar noise
Emails? We get emails!Random ThoughtsGreetings, news and announcements

Hello and welcome to the March 15 Edition of guitar noise news.This issue has, a short bit, and my apologies for this advance to sein.Aus seems somehow each period in the universe today, so I try, stop everything at the same time, which of course means nothing will get completed.

Really, abrufen.Wie is much done last read is "the complete idiot Guide to the play Rock Guitar" now in bookstores and online booksellers überall.Und we are the version celebrate by away 15 copies of it between now and the end of may - five copies each month.

Enter this competition, you must send an e-Mail with the following information:

Your Nameyour email Addressyour mailing address (and it doesn't matter where you are in the world) the title of your favorite items to the guitar Noisethe name of your favorite rock guitarist

Send you an e-Mail per person please me at the dhodgeguitar

Anything to push

ShareBy: Darrin Koltow, 26 March 2010

Have you reached ever no objective because it too easy to saw, or because it was not enough battle involved achieve it? Sometimes it seems as we need to pick a value from the life. This may be true with their guitar education. Take for example two guys to give novices and one to learn all the time and money he needs to get the best resources for guitar the guitar you. Enter two full time jobs the other guy down a family and many other not guitar obligations.Perhaps he can squeeze from his ten minutes four hours sleep, a Wes Montgomery licking to death to beat before he falls flat on face where it remains until its shrieking three year old again is it aktiviert.welche guy, play to learn faster and better?

Okay, this perhaps the best example. Drag two other ideas from my own experience into account.Have you ever seen a Preponderance of people from another country, a relatively poor in your country come and become wealthy? it is like your country always granted for transferred who is like heaven to them or some precious gift, the you waste car. And perhaps is the struggle which learn another language, dealing with prejudices and homesickness and poverty actually spurs on prosperity to achieve.

One last example: Saw the nature films jump where salmon upstream, completely against a river power, achieve your spawning grounds? The image is burned in my brain forever. If remember it, says a part of me, "stupid fish!" Why the heck not you just..."and to weiter.Und another part which my brain says"you must do."" "You must fight to have."Forget to survive of the fitness test and all this only consider the idea you need to get the thing you want.

", If you your guitar targets are not met, you should looking for things that press against.""I will learn this licking want to, because it stop me the last time I played it for cousin MoE, to the day job gesagt.Ich will show him."

Thank you for reading.

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Solve problems (part 2) from timing and rhythm

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During each agree that with a metronome can help you develop and improve your rhythm in part it is far more important for all musicians information to the rhythm of the song, or musical piece to internalisieren.Nick Minnion examines ways you 2 of "solving timing and rhythm problems."

By: Nick MinnionTopics: practice tips, StrummingGuitar Pro TabsPart 2 - for developing a sense of rhythm

Get the measure of the metronome

Guitar teacher and author of books on this topic often the virtues play together to a metronome extol, click title or Drumcomputer.Jetzt I a note of caution of this advice - add is a trick with a playing mechanical timekeeper and teachers are overlooking this fact often guilty (or may simply not aware of it).

If you try and hear a metronome it and respond with your pick or strumming movement play follow, be with a natural rhythm.This is because our natural rhythmic sense analytical work not part of our higher (left brain) - it is more intuitive (right brain) .(Einige_Leute_bringen_es_als_in_der_Mitte_des_Körpers_mehr_indem_Mittelpunkt,_anstatt_indem_Kopf_wird).

A good opportunity to students who appreciate the difference between the analytical approach and the intuitive approach to help is described so attempting in time to keep by follow the metronome, as above, then after a minute or two, instead to try this method first:

Only hear the metronome for a few Sekunden.Dann allow your body to respond by tapping a foot, move the head or swaying from side to side - the more call after what feels Natürliche.Ich

Newsletter BD 3 # 111-3 April 2010

ShareBy: David Hodge

Greetings,

Welcome to volume 3, issue # 111 of guitar noise news!

Top in this issue: Greetings "news and AnnouncementsTopic MonthGuitar noise a ArtistNew article and Darrin KoltowEvent HorizonRandom ThoughtsGreetings LessonsExploring guitar news and announcements"

Hello and welcome to the first of April questions guitar noise news, your twice-a month newsletter of guitar noise (www.guitarnoise.com) indicating that I this issue date not.Originally I was for a "April fool" Edition will but there are some important things to discuss and I do not want someone one to confuse important bit of news as an April fools joke.

I thought about issues Charley, to write this problem but it was if he will to do so and then he had to be guitar noise featured artist of the month.It took days (and treated many cat) it to convince that this probably not, because people are probably his artist of the month was a great idea would think an other April Fools jokes.A serious artist it is, finally, the point in, sehen.Aber not only a serious artist, he had some concerts for preparation, allowing him the time which I help by writing this newsletter links.

To become this probably somewhere between April 3 and 5 April, get suffering through the Verzögerung.Seien us when all gut.Es does the next guitar noise news insured 15 anreisen.Just in time back on schedule on April, some of you ensure, are to remind filed their taxes!

Last read how is "the complete idiot Guide to the play Rock Guitar" now in bookstores and online booksellers überall.Und we are the version celebrate by away 15 copies of it between now and the end of may - five copies each month.

At midnight, March 31, we have a drawing for the first five winners competition and we are pleased to announce that noise trailer (listed in alphabetical order by last name) one the following guitar us autographed copy of "the complete idiot Guide to the play Rock Guitar" received before the month is April through:

Jeffery Bosserman Pennsylvania (USA)
Ellen Krauss of New York (USA)
Roy Parker of North Carolina (USA)
Allison Stokes new South Wales (Australia)
David Watts of Merseyside (England)

Guitar noise offers congratulations to our first five winners and wish everyone good luck for the rest of you have not entered this Wettbewerb.Falls and would like to so you must send an e-Mail with the following information me:

Your Nameyour email Addressyour mailing address (and it doesn't matter where you are in the world) the title of your favorite items to the guitar Noisethe name of your favorite rock guitarist

Send you an e-Mail per person please me at the dhodgeguitar