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Problems with humidity can lead to heartbreak for the classical (or other) guitarist. Excessive humidity or dryness can ruin an instrument probably quicker than you think.

You must always be aware of what conditions you are leaving your instrument, whether inside a guitar case or within a room or in the open. They should NEVER be left in the sun for any length of time.

When guitars are built they are usually in an environment where the relative humidity of the room is kept constant, roughly around 50%.

To be safe you ideally should keep your instrument around this mark though they are generally regarded as safe between 40%-70% as the upper and lower margins. Below or above this can be drastic for your instrument!

An interesting example of anecdotal evidence of problems with humidity I’ve heard is with Ramirez guitars.

Because they’re made in Spain where the humidity is often above the 50% mark and are shipped to areas where the humidity is much lower with dry winter conditions, they can easily develop cracks and slits throughout the guitar.

Having made an investment for such a beautiful guitar youd be mad not to invest in a relatively cheap system for keeping the humidity of your guitar constant, like a guitar humidifier case for example.

The damage caused by too much humidity or of drying out your instrument can range from cracks, splits and shrinkage to warping and even snapping of the wood.

There are many things you can do to prevent problems from the start. You know the old saying “an ounce of prevention is worth a pound of cure.”

I would recommend keeping your house, or wherever you keep your instrument, at a constant temperature and humidity all year round.

Next I would get a humidifier for my guitar case, whether one sold commercially which releases moisture slowly and attaches to the inside of your case, or a home-made one which could consist of a wet cloth (be careful not to let it touch your instrument as it may damage the wood).

Another thing to invest in is a “hygrometer”, which is an instrument that will keep track of humidity, or lack of it in your guitar case. As mentioned above, some guitar cases are made with these things as standard.

If you follow these few simple rules and keep an eye out for changes in temperature and humidity conditions it shouldn’t be hard to keep your instrument in good order.

Trevor Maurice is an Australian, living in beautiful seaside Maroubra, in the eastern suburbs of Sydney.

He’s been involved in playing guitar (mainly classical) for longer than he cares to remember and has also taught the instrument for many years. He is teacher trained, having a Diploma of Education (Majoring in music)

He has also taught Primary (Elementary) school for many years and had a long-held dream to build a quality website for the classical guitar that is of use to anyone even slightly interested in this beautiful instrument. He has now made that dream a reality with the highly rated…

http://www.learnclassicalguitar.com/index.html

Are your students loathe to practice as much as they should? OK, you can stop laughing and pick yourself up off the floor now. I know it wasn’t the brightest question.

But I asked it to make a point, of course. Haven’t you been guilty of that misbehavior? I personally am a lifetime repeat offender. As adults we all know intellectually that if you don’t practice something, you don’t get better. We tell our students and ourselves this until the bile rises in our throat threatening an embarrassing episode. So why do we keep putting it off?

In the darkest recesses of your psyche a nagging whisper gives you the answer. It’s not fun. And in this day and age nobody wants to do anything that’s not FUN!

Now while I am not an advocate of the ‘everything should be entertaining’ school of thought, it is also true that practicing vies for your student’s miniscule attention span. Practicing is going head to head against the latest video game.

To compete with that there needs to be some pretty excellent mind candy. The very best flavor on the market seems to be success. Generally if you are good at something you like doing it over and over.

In order for you or your student to feel like he’s being successful he has to pass a number of observable milestones. According to studies this is one of the attractions to the ubiquitous computer games. Let’s face it, it doesn’t take long to see some progress on the computer. Most of us know that allure of almost getting to the next level of the game.

To capitalize on that same feeling our students need to have small enough goals to feel great pretty often. Not only that but they need to be able to look back and really experience how far they have come in the short practice times of a few weeks.

And you know what? There are ways to plug into this type of feel good. And a great bonus is that the student will do most of the work to set it up and get himself there.

Here is the trick. No, I am not going to quote any of the success gurus you regularly see on TV. Well OK, I really am, but you know they do have some good things to say and this is one they all seem to agree on.

Goal setting. And I mean setting it down on paper every week in the same little log book. Make up several menus to give your students a few ideas. Initially they will choose the things they want to accomplish. As they become more proficient many goals will become self evident, and they can come up with them alone. Your input will be necessary as they don’t know what they don’t know, but be aware of the fact that a major part of the process is that the student must participate in setting the goals, otherwise it is just more homework.

The goals need to be in several categories. Daily, weekly, monthly, for the term, for the year, for several years. Once a system is put in place and there is some small amount of class time devoted to it every week then the thrill of achievement will be built in. The pleasure loving student will begin to find practice can be fun because they can check off items and see success written into the book a mere few weeks after starting. The amount that can be accomplished with this miniscule discipline is amazing. The book fills up and your young musicians are impressed with their industrial strength production levels.

The trick is to put the system in place and then work with it for several months. A session at the end of the month where students get to share what they have accomplished does wonders for everyone’s feel good quotient and spurs more goals and more success.

Try it. You and your students will all be much better off for the experience.

Suzie Hammond is a teacher turned writer and factotum for: www.musicalcompositions.net

There you may purchase and download sheet music for concert bands, choirs,chamber ensembles,jazz groups. See it,hear it,download it, rehearse it. FREE Newsletter and FREE Special Report written by Carl Hammond Phd. a 35 year international music veteran.

Well written interesting music for your groups to play right now via download. Score pages, MP3s to help you decide suitability.

As an independent musician and/or recording artist, if you
did *NOT* earn $30,000 (or more) with your music alone
last year, let’s jump right in and get you started with doing
so this year.

Again, bear in mind that the main necessary ingredient is
“consistency” of every aspect, and on a weekly basis.

Remember! This is a worst case scenario, in regard to
what you should be able to easily earn within each aspect,
and you are very likely to earn much more.

The “lead generator(s)” in each aspect reflects the various
resources that you will use to obtain results in these areas.

So, here is the financial mathematical layout.

[—GIG EARNINGS—]

Practically any band should be able to market and promote
itself well enough to obtain, at least, one gig per week,
whether the band is based in a metropolitan or rural setting,
and whether it performs on a fulltime or part-time basis.

So, in our worst case scenario, let’s look at getting one gig
per week:

1 Gig X 1 Week @ $300 X 4 weeks = $1,200 per month

Lead Generators:

* Contacting venue managers and bookers directly
* Signing on with an area booking agent
* Placing low-cost ads in your area weekly newspapers
* Contacting area performance theaters
* Host your own gig at an area hall or theater
* Contacting high schools for performances
* Contacting college student activities offices for
performances
* Low-cost college newspaper ads for possible gigs
* Low-cost college radio ads for possible gigs
* Your website calendar gig notices/tours

Note: Provide your media kit and business card to
prospective clients.

[—GIG CD SALES—]

As you are already aware, most gig employers will allow
you to sell your music during performances.

So, in our worst case scenario, let’s look at getting sales
during gigs, with a minimum of 100 people at each gig, and
with 10% (10 sales) of the crowd who, after witnessing your
mind-blowing spectacular performance, suddenly realize
that life is not worth living, and they simply cannot go on
unless they own a copy of your CD:

10 sales X $10.00 (per CD) X 4 weeks = $400 per month

Our monthly sub-total is now $1,600

Lead Generator:

* Your incredible stage performance that left them
mesmerized.
* Your website for additional sales

[—TEACHING—]

Right now, in your own area, there are innumerable people
who would like to learn to play your instrument, or be able to
sing as half as well as you. So, why not teach them how to
do so while earning a bit of income doing it as well?

So, in our worst case scenario, let’s say you teach only one
day each week, with only two students, at one hour each,
while charging $10 per student, per lesson:

1 day X 2 students X $10.00 (per student) X 4 weeks = $80 per month

Our monthly sub-total is now $1,680

Note: If you decide to devote an entire day of the week to
teaching, say 8 students/8 hours, your income increases to
$80 per day/$320 per month.

You can also consider contacting area community colleges
that will likely be receptive to your classes within their
“Continuing Education” program, which can even pay a bit
more money. And, if time allows, why not get the best of
both worlds, so to speak, by teaching both independently,
as well as within the college system?

Lead Generators:

* Placing low-cost ads in your area weekly newspapers
* Contacting high schools to post notices/fliers
* Low-cost college newspaper ads
* Low-cost college radio ads
* News releases to area radio and print papers
* Feature interviews on area radio and in newspapers
* Your website with your class notices

Note: Provide your credentials to student prospects in the
forms of a resume and/or portfolio.

[—ONLINE SALES—]

Just a few noted sites include:

CD Baby ( http://www.cdbaby.com )
The Orchard ( http://www.theorchard.com )
Amazon.com ( http://www.amazon.com )
New Artist Direct ( http://www.newartistdirect.com )

With fairly decent online promotion, at the least, you ought
to be able to realize an average of 3 sales per week from
each of these sites. While all may not produce those 3
sales individually each week, some of them are likely to
produce more than 3 sales, dependent upon your
promotional efforts, of which should still average out to
3 sales each.

However and again, let’s review a worst case scenario:

4 sites X 3 sales each X $7.00 = $84 X 4 weeks = $336

Our monthly sub-total is now $2,016

Lead Generators:

* Peripheral online sales from gig audiences
* Low-cost ads in area weekly newspapers
* Low-cost college newspaper ads
* Low-cost college radio ads
* Internet marketing and promotion on music message
boards, music forums, and within discussion list signature
files
* News releases to area radio and print papers
* Feature interviews on area radio and newspapers
* Your website sales

[—WEDDINGS—]

Though weddings occur within every month of the year, the
biggest and most traditional month for weddings is June.
And, right now, in your own area, there are quite a few
being planned for this summer. Weddings are one of the
most lucrative income generators for musicians, because
families generally are very liberal in spending on them, and
go all out, so to speak, for this special day for their
daughters.

So, in our worst case scenario, let’s say you can get, at
least, one wedding gig per month, at $1,000 per gig (more
wedding gig opportunities are likely during summer months
especially):

$1,000 X 9 months = $9,000

Our monthly sub-total is now $3,016

Lead Generators:

* Caterers & Catering Services
* Placing low-cost ads in your area weekly newspapers
* Your website notices of your availability for weddings
* Providing your business card to area upscale restaurants
that cater wedding receptions and banquets
* Your business card left with flower shops
* Your business card left with jewelry stores
* Your business card left with bridal shops
* Your business card left with tuxedo shops
* Your business card left with bridal services

Note: You should also provide your business card to
wedding attendants who inquire about your services for
upcoming functions that they may be hosting in the future.

[—WEDDING CD SALES—]

You may also be able to sell your CD at weddings, however,
ASK FIRST when coordinating your performance
arrangements. Attendants usually interact with the band, as
it is a happy occasion.

If you are allowed to sell your recordings at weddings, you
should do so passively by having your CDs placed near the
performance area in a conspicuous position.

However, I would not “hard sell” (repeatedly mention) the
CD from the stage, unless of course, a wedding coordinator
decides to do so, or states that you may do so.

So, in our worst case scenario, let’s say, at least, 100
people attend each wedding (more are likely to attend
many weddings), with 10% of them purchasing your CD:

10 sales X $10.00 (per CD) X 1 month = $100

Our monthly sub-total is now $3,116

Lead Generator:

* Your performance
* Your website notice

[—RETAIL STORE CONSIGNMENT SALES—]

Since stores won’t be laying out cash in advance for your
music, you should have very little problem consigning your
music to retailers.

A word of advice is for you to not consign more than five
copies per per store, per 30-day period, at any time.
Limiting copies to stores will allow for sufficient time in your
product moving off retailer shelves.

Consider getting your product consigned with, at least, five
area retailers. However, if there are not enough music
stores in your area, consider consigning it with other
retailers such as; bookstores, flower shops, jewelry stores,
and any other such retailer that gets quite a bit of traffic
and might be interested in carrying your music.

You will, generally, be required to present retailers with your
own consignment form, and I have created one that you can
freely download and customize for your own use at: http://www.MuBiz.com/CnsnmtFrm.html

Just be sure to duplicate it so that both you and the retailer
have copies.

So, in our worst case scenario, let’s look at your area retail
possibilities:

5 Stores X 5 copies X $8 (your take) = $200 per month

Our monthly sub-total is now $3,316

Lead Generators:

* Low-cost classified or display ads in area newspapers
* Low-cost radio ads
* Low-cost cable television ads
* News releases to all forms of media
* Feature interviews at local television, radio stations and
print media
* Music reviews in your area print media
* Your website listing area stores carrying your music

Note: Provide your media kit and business card to retailers
in order to further influence their decision in consigning
your product.

[—PRODUCTION—]

Did you produce your own CD? If you did, and if people are
raving about how great it is, why not consider producing
other area bands as well for some extra cash?

Between now and the end of this year, you should be able
to produce, at least, two acts for, at least, a $1,000 fee
each.

Lead Generators:

* Word of mouth and fellow musicians you know
* Placing low-cost ads in your area weekly newspapers
* Low-cost college newspaper ads
* Low-cost college radio ads
* Your website notice of your production skills
* Fliers in music instrument stores

Note: Provide your media kit and business card to contacts.

As our monthly sub-total is $3,316, providing a grand
sub-total of $29,844, when you add on your $2,000
production fees for both bands that you produce, your
minimum grand year-end total comes to $31,844.

As I stated at the beginning of this article, each of these
aspects contain ‘bare bones’ minimum figures in respect to
what your earning potential is within them.

* Special Note: In each of these areas, it is very likely that
you will experience repeat business, as well as word of
mouth promotion, which will further add to your annual
income this year, thus, creating the potential for doubling or
even tripling your income.

Kenny Love is president of http://www.MuBiz.com, a radio promotion and media publicity firm that also provides business and career services to musicians.

Facts about MC Big Proof
“If I was you, suicide would be a way of life. If you was me , you’d kill you.” (Proof)

Before I start talking about D12’s gifted Mc Proof, I would like to thank and to give credit to the webmaster of the following Derty Harry website for the rare info I found about Deshaun Holton aka Derty Harry aka Proof:

http://angelfire.com/bxc3/dertyharry/main_bio.html


Deshaun Holton aka Proof was born on October the 2nd 1975 in Detroit.
Although they didn’t attend the same High School, Eminem and Proof have been friends since 1988. They used to live in the same street in Detroit.
Proof used to go to Osbourne High school while Eminem was attending Lincoln High. Both friends used to skip high school in order to rap together: in fact Eminem skipped Lincoln High and used to come to Proof’s school very often, because both friends wanted to rap together. This is how they met:

“I was skipping school, and he was skipping school also, passing out flyers for his concert he was having in Centerline. That had to be, like, ‘88 or something.” (Proof)

Some (white) underground Mcs from Detroit like Backstab the Kingpin are convinced of Proof’s racism. But Deshaun’s statements seem to prove the contrary.

CDNow has asked Proof how he felt about Eminem’s skin color at the time they met:

CDNow: Did you wonder what this blond, white kid was up to?

Proof: “You know, I went to Catholic school and had a great, great friend of mine who happened to be Irish; we were best friends since the sixth grade. So when I saw [Eminem] was white, I didn’t even jump off like that; when he rapped, he was dope. What made us get dope and become great friends was we both rhymed “first place” and “birthday,” and we’ve been tight ever since [laughs].”

Eminem and Proof have been real friends since the beginning. When Eminem was kicked out of his home, he would sleep at Proof’s house.
It is well known that Proof is an amazing freestyler.He won the freestyling competition in the Source magazine in 1999. He his a better freestyler than Marshall, but Marshall’s force is in the way he handles his words in his lyrics. That’s exactly what Proof states about their complementary talent:

“We were both impressed with each other. The advantage I’ve got over Em is freestyling; I’m the kind of guy who freestyles off the head, right? The advantage he had over me was that he knew how to write intricately; he knew how to put a song together and bring feelings about. That’s why I journeyed under him, like, “Yo, show me the ropes, homeboy.”

The idea of the D12 group composed of talented MCs and sick aliases with popped into Proof’s mind:

“I was in New York; I had this deal with Tommy Boy that didn’t work out, unfortunately. But I just had this idea that we could put together a team of dope MCs, put a lot of Detroit on as far as having MCs with skills. Everybody’s solo took so we’ll make aliases, like Eminem’s Slim Shady and I’m Derty Harry, and call it the Dirty Dozen — and at this time, to be honest with you, we thought The Dirty Dozen was a Western movie; we didn’t know it was an army movie [laughs].
That fits us, army rather than Western, ’cause we see ourselves more as gun-slingers, lyric-slingers. Then the idea was to form a pact whereas this team, whoever gets out first comes back and gets the rest of the group.”

Proof has always been confident in Eminem’s loyalty, even if some other members of the group may have been worried:

“Not me; I’ve been there since day one, almost. I think the rest of the group may not have been there, but Proof has been beside Eminem all this time. I play a leadership role in the group, where I talk to everyone else; Em is like the president, and I’m the general. I talk to the rest of the fellas and put ‘em in line and show ‘em the direction. It’s a family, too, so there’ll be a lot of fighting and bickering, and some people might have felt it might not be the way it should be. So, yes, there were times when people felt funny about things. But now everybody thinks back to that, and we were tripping out over nothing.”

Acccording to Proof, Eminem’s success was the best thing that could have happened to D12:

“Right. Some people look at us like, “You’re gonna be Eminem’s group. You’re gonna be in his shadow.” They don’t realize how positive and great that is to hear; if you’re in the shadow of a guy who can sell almost 10 million records in just the states alone, great. That’s not a dis to us. But when they hear the album, they hear the individuality of each person, how everybody holds their own.”

It is so true that each D12 emcee has his own talent and ability to rap.

It is less known that Proof’s first stage name was “Maximum”. Proof has always been appreciated in Detroit for his raps and his freestyling qualities. He changed his nickname when people started calling him “Living Proof”, because in many people’s minds, Proof was the “living proof of the living MCs in Detroit”.


Proof has collaborated and still collaborates with numerous artists such as Dogmatic.
Proof’s first released Cd was called “From Death” and was co-produced with Da Goon Squad.

He has released a CD called “Promatic” with Dogmatic and a six Track solo EP called “The Search For Jerry Garcia”.
As well as for Eminem, Detroit has been very influencial to Proof who describes his hometown as “the type of place where eye contact can get you killed” and also as ” a city where the sun never shines, full of pot holes, snow and con artists ready to jack everything you got”.

My name is Isabelle Esling. I do teach English and German at public schools. I’m an Eminem biographer and a freelance music journalist.

Piano lessons provide a wide range of benefits to young children. Here are my “Top Five.”

1. Piano lessons help preserve and develop children’s natural creative abilities.

The best analogy of how children learn through music that I’ve found is from Donald Kroodsma’s book “The Singing Life of Birds.” Every songbird can be identified by the unique song it sings, but a baby bird has to be taught by its parents to sing the family song. Baby birds, like humans, just ‘babble’ at first. Mother birds sing the family song over and over to the baby birds as they try to repeat it back. At first, the baby birds are only able to sing back one or two notes, but they gradually learn to sing the whole song. And birds with two voice boxes even learn to sing their own harmony parts! Once baby birds learn the family song, they can start developing their very own songs. Similarly, I encourage students to compose their own music after developing needed skills. In my experience, young children in piano are a lot like baby songbirds!

2. Piano lessons help children perfect their natural learning processes.

Music is a language, and children are programmed to absorb languages. Studies have shown that kids can most easily learn new languages when they start at a young age. Piano lessons help children develop the very same skills needed to accomplish language arts, like reading. In piano, students learn how to follow directions, scan written materials, think critically, create solutions and translate writing into action. For example, students must look at each note, measure and phrase and decide how to play each note to make the music come to life. Many children (including my own sons) have become much better readers after starting piano lessons. Further, piano lessons involves an interplay of both right and left brain activity that stimulates neural development.

3. Piano lessons help children learn how to stay focused and achieve goals.

Piano lessons help children set specific goals and then work towards reaching these goals. Each new piece of music a student learns requires a specific set of skills and playing habits. To achieve these goals students must learn to stay focused and study each note, measure and phrase to understand how to play the song. In doing this students learn to think critically and creatively as they decide how to make the music come to life. Staying focused over time develops good study habits that become natural. This is important because learning to practice good habits that match their goals shows children how to make their dreams come to life!

4. Piano lessons help children develop courage.

It takes courage to face challenges without letting our anxiety and worries get the best of us. Piano lessons help students learn to accept challenges such as learning a difficult song, as well as to perform pieces in front of teachers, friends, and families at recitals. Lessons also help kids learn the importance of keeping a positive perspective despite difficulties. Learning to handle uncertainty and stress in a way that minimizes anxiety and maximizes creativity is a valuable life tool. We all need practice at this!

5. Piano lessons teach children to persevere.

A key part of accomplishing anything difficult is not to give up easily. As children grow, piano lessons teach kids to try and then try again if they don’t initially succeed. However, as Yoda explained to Luke Skywalker, the objective isn’t just trying itself, but accomplishing the desired goal — “Do or do not, there is no try!” Piano lessons teach students how to adjust their expectations if they can’t initially master a tough song or skills, and to tackle these big goals by taking small incremental steps. In the end, just like the baby songbirds that eventually learn to sing, students learn that they can accomplish great things and reach their dreams through careful and consistent effort.

For great home piano activities parents can use to help children ages 5 to 11 develop their musical talent, visit Piano Adventure Bears Music Education Resources You’ll find a treasure box filled with piano resources to create an exciting musical adventure for your child - right in your own home! Visit their website and subscribe to their f’ree internet newsletter so you can download f’ree piano sheet music and mp3s of original piano compositions.

These exciting stories, games, piano lessons, and inspirational gifts feature the Piano Adventure Bears, Mrs. Treble Beary and her new piano student, Albeart Littlebud. Young students follow along with Albeart to learn what piano lessons are all about in a fun way that kids readily understand appreciate. Click here to visit PianoAdventureBears.com For a wealth of information about piano lessons, visit tallypiano.com

So you want to play guitar? Guitar lessons, in some form or another, are a necessity for anyone wanting to learn to play the guitar. Established players also rely on guitar lessons to acquire new skills and move up to the next level. Finding the right lesson, course, or product sounds simple, but there are so many choices available that it’s a tough task to figure out what’s best for your individual needs. These guidelines will help you sort through your options and make a good decision.

Guitar Lessons- Private Instructor or Online?

The traditional way of learning guitar is by taking private lessons from a guitar teacher. The student typically meets with the instructor once a week for 30 minutes at a cost of about $15-25 per week. This is certainly a great option, and perhaps the best way to learn to play: under the personal guidance of a dedicated teacher. However, in many cases private lessons are not a good option due to the time, cost, and transportation factors involved.

The good news for guitar players is that there is a wide range of alternatives to private instruction. Guitar lesson and instructional books have been a mainstay for years. Technology developments then brought us lessons in the form of videotapes and DVDs, as well as multimedia software programs to run on the PC.

Today, widespread access to the internet has caused a major revolution in guitar instruction methods and availability. Now an abundance (some might say over-abundance!) of information on various guitar lesson choices is available in minutes through your favorite search engine. The array of choices is staggering, ranging from free online guitar lessons, to high-end distance learning guitar instruction leading to a certificate from Berklee College of Music,

Aside from better visibility into the options, there have also been tremendous advances in the technology used to develop and deliver the instructional material. Interactive video lessons in which the student controls the pace of learning and the tempo of the material are a good example of this. Online guitar lessons and products can be accessed immediately on the Web, either on-demand or downloaded to the local PC. This gives great flexibility on when and where to learn.

Guitar Lessons Options

Aside from private lessons, there are three basic formats of guitar lessons and instructional material.

Books- If you’re on a budget and like the idea of the portability of a book, this may be the way to go for you. Books often come with a CD to provide audio tracks. Typical Cost: $15-25

Video-based lessons- In my experience, pure video-based lessons are a good “icing on the cake” to help you learn, but not typically a good foundational guitar lesson program. They often lack supporting learning materials needed to be effective for baseline learning.

Multimedia Online Lessons- The Web, plus advances in the technology for creating learning material such as video, has really opened the door to some great multimedia guitar lesson programs.. These can be delivered and accessed on several ways: downloaded for use on your PC; accessed directly from your PC with a live web connection, or as a physical CD/DVD that you run on your PC.

Sorting through the many options can be made easier with information dedicated to this topic on various guitar websites, such as this online guitar lessons guide.

Wrap-up

For those wanting to learn to play guitar, or to play better, there is no better time than now to take advantage to the available online guitar lesson and learning options. The realm of guitar instruction is certainly one that has benefited from the Internet!

Look for the next article in this series:
“Guitar Lesson Tips: 10 Keys to Choosing the Right Guitar Lesson”

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Related articles on Ezinearticles.com:

“Basic Guitar Chords: “How to Easily Master the Guitar Chords You Must Know”

“Guitar Chord Diagrams: An Essential Tool for Learing to Play the Guitar”

Copyright 2005 Peter Bussey of www.guitar-players-toolbox.com
This article can be reprinted freely online, as long as the entire article and the resource box, with hyperlnks, are included.

Peter Bussey has been an avid guitar player for over 10 years. In 2004 he became Editor of The Guitar Players Toolbox, a website dedicated to helping advancing guitar players improve with practical tools, tips, and information. Visit http://www.guitar-players-toolbox.com for a variety of free, practical resources on guitar lessons, guitar chords, guitar chord charts, song chords, and more.