[Brain training] Memory trick

http://www.youtube.com/watch?v=kx-fUYS8VjI

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mathhoang

[E-book]Smart-Thinking-Skills-for-Critical-Understanding-and-Writing-2nd-Ed-Matthew-Allen

http://www.scribd.com/doc/4592575/Smart-Thinking-Skills-for-Critical-Understanding-and-Writing-2nd-Ed-Matthew-Allen

http://www.kantakji.com/fiqh/Files/Research/t116.pdf
smart thinking
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mathhoang

Definitions

Definition 1.: A point is that which has no part.
Definition 2.: A line is breadthless length.
Definition 3.: The ends of a line are points.
Definition 4.: A straight line is a line which lies evenly with the points on itself.
Definition 5.: A surface is that which has length and breadth only.
Definition 6.: The edges of a surface are lines.
Definition 7.: A plane surface is a surface which lies evenly with the straight lines on itself.
Definition 8.: A plane angle is the inclination to one another of two lines in a plane which meet one another and do not lie in a straight line.
Definition 9.: And when the lines containing the angle are straight, the angle is called rectilinear.
Definition 10.: When a straight line standing on a straight line makes the adjacent angles equal to one another, each of the equal angles is right, and the straight line standing on the other is called a perpendicular to that on which it stands.
Definition 11.: An obtuse angle is an angle greater than a right angle.
Definition 12.: An acute angle is an angle less than a right angle.
Definition 13.: A boundary is that which is an extremity of anything.
Definition 14.: A figure is that which is contained by any boundary or boundaries.
Definition 15.: A circle is a plane figure contained by one line such that all the straight lines falling upon it from one point among those lying within the figure equal one another.
Definition 16.: And the point is called the center of the circle.
Definition 17.: A diameter of the circle is any straight line drawn through the center and terminated in both directions by the circumference of the circle, and such a straight line also bisects the circle.
Definition 18.: A semicircle is the figure contained by the diameter and the circumference cut off by it. And the center of the semicircle is the same as that of the circle.
Definition 19.: Rectilinear figures are those which are contained by straight lines, trilateral figures being those contained by three, quadrilateral those contained by four, and multilateral those contained by more than four straight lines.
Definition 20.: Of trilateral figures, an equilateral triangle is that which has its three sides equal, an isosceles triangle that which has two of its sides alone equal, and a scalene triangle that which has its three sides unequal.
Definition 21.: Further, of trilateral figures, a right-angled triangle is that which has a right angle, an obtuse-angled triangle that which has an obtuse angle, and an acute-angled triangle that which has its three angles acute.
Definition 22.: Of quadrilateral figures, a square is that which is both equilateral and right-angled; an oblong that which is right-angled but not equilateral; a rhombus that which is equilateral but not right-angled; and a rhomboid that which has its opposite sides and angles equal to one another but is neither equilateral nor right-angled. And let quadrilaterals other than these be called trapezia.
Definition 23: Parallel straight lines are straight lines which, being in the same plane and being produced indefinitely in both directions, do not meet one another in either direction.

Postulates

Let the following be postulated:

Postulate 1.: To draw a straight line from any point to any point.
Postulate 2.: To produce a finite straight line continuously in a straight line.
Postulate 3.: To describe a circle with any center and radius.
Postulate 4.: That all right angles equal one another.
Postulate 5.: That, if a straight line falling on two straight lines makes the interior angles on the same side less than two right angles, the two straight lines, if produced indefinitely, meet on that side on which are the angles less than the two right angles.

Common Notions

Common notion 1.: Things which equal the same thing also equal one another.
Common notion 2.: If equals are added to equals, then the wholes are equal.
Common notion 3.: If equals are subtracted from equals, then the remainders are equal.
Common notion 4.: Things which coincide with one another equal one another.
Common notion 5.: The whole is greater than the part.

Propositions

Proposition 1.: To construct an equilateral triangle on a given finite straight line.
Proposition 2.: To place a straight line equal to a given straight line with one end at a given point.
Proposition 3.: To cut off from the greater of two given unequal straight lines a straight line equal to the less.
Proposition 4.: If two triangles have two sides equal to two sides respectively, and have the angles contained by the equal straight lines equal, then they also have the base equal to the base, the triangle equals the triangle, and the remaining angles equal the remaining angles respectively, namely those opposite the equal sides.
Proposition 5.: In isosceles triangles the angles at the base equal one another, and, if the equal straight lines are produced further, then the angles under the base equal one another.
Proposition 6.: If in a triangle two angles equal one another, then the sides opposite the equal angles also equal one another.
Proposition 7.: Given two straight lines constructed from the ends of a straight line and meeting in a point, there cannot be constructed from the ends of the same straight line, and on the same side of it, two other straight lines meeting in another point and equal to the former two respectively, namely each equal to that from the same end.
Proposition 8.: If two triangles have the two sides equal to two sides respectively, and also have the base equal to the base, then they also have the angles equal which are contained by the equal straight lines.
Proposition 9.: To bisect a given rectilinear angle.
Proposition 10.: To bisect a given finite straight line.
Proposition 11.: To draw a straight line at right angles to a given straight line from a given point on it.
Proposition 12.: To draw a straight line perpendicular to a given infinite straight line from a given point not on it.
Proposition 13.: If a straight line stands on a straight line, then it makes either two right angles or angles whose sum equals two right angles.
Proposition 14.: If with any straight line, and at a point on it, two straight lines not lying on the same side make the sum of the adjacent angles equal to two right angles, then the two straight lines are in a straight line with one another.
Proposition 15.: If two straight lines cut one another, then they make the vertical angles equal to one another.
Corollary. If two straight lines cut one another, then they will make the angles at the point of section equal to four right angles.
Proposition 16.: In any triangle, if one of the sides is produced, then the exterior angle is greater than either of the interior and opposite angles.
Proposition 17.: In any triangle the sum of any two angles is less than two right angles.
Proposition 18.: In any triangle the angle opposite the greater side is greater.
Proposition 19.: In any triangle the side opposite the greater angle is greater.
Proposition 20.: In any triangle the sum of any two sides is greater than the remaining one.
Proposition 21.: If from the ends of one of the sides of a triangle two straight lines are constructed meeting within the triangle, then the sum of the straight lines so constructed is less than the sum of the remaining two sides of the triangle, but the constructed straight lines contain a greater angle than the angle contained by the remaining two sides.
Proposition 22.: To construct a triangle out of three straight lines which equal three given straight lines: thus it is necessary that the sum of any two of the straight lines should be greater than the remaining one.
Proposition 23.: To construct a rectilinear angle equal to a given rectilinear angle on a given straight line and at a point on it.
Proposition 24.: If two triangles have two sides equal to two sides respectively, but have one of the angles contained by the equal straight lines greater than the other, then they also have the base greater than the base.
Proposition 25.: If two triangles have two sides equal to two sides respectively, but have the base greater than the base, then they also have the one of the angles contained by the equal straight lines greater than the other.
Proposition 26.: If two triangles have two angles equal to two angles respectively, and one side equal to one side, namely, either the side adjoining the equal angles, or that opposite one of the equal angles, then the remaining sides equal the remaining sides and the remaining angle equals the remaining angle.
Proposition 27.: If a straight line falling on two straight lines makes the alternate angles equal to one another, then the straight lines are parallel to one another.
Proposition 28.: If a straight line falling on two straight lines makes the exterior angle equal to the interior and opposite angle on the same side, or the sum of the interior angles on the same side equal to two right angles, then the straight lines are parallel to one another.
Proposition 29.: A straight line falling on parallel straight lines makes the alternate angles equal to one another, the exterior angle equal to the interior and opposite angle, and the sum of the interior angles on the same side equal to two right angles.
Proposition 30.: Straight lines parallel to the same straight line are also parallel to one another.
Proposition 31.: To draw a straight line through a given point parallel to a given straight line.
Proposition 32.: In any triangle, if one of the sides is produced, then the exterior angle equals the sum of the two interior and opposite angles, and the sum of the three interior angles of the triangle equals two right angles.
Proposition 33.: Straight lines which join the ends of equal and parallel straight lines in the same directions are themselves equal and parallel.
Proposition 34.: In parallelogrammic areas the opposite sides and angles equal one another, and the diameter bisects the areas.
Proposition 35.: Parallelograms which are on the same base and in the same parallels equal one another.
Proposition 36.: Parallelograms which are on equal bases and in the same parallels equal one another.
Proposition 37.: Triangles which are on the same base and in the same parallels equal one another.
Proposition 38.: Triangles which are on equal bases and in the same parallels equal one another.
Proposition 39.: Equal triangles which are on the same base and on the same side are also in the same parallels.
Proposition 40.: Equal triangles which are on equal bases and on the same side are also in the same parallels.
Proposition 41.: If a parallelogram has the same base with a triangle and is in the same parallels, then the parallelogram is double the triangle.
Proposition 42.: To construct a parallelogram equal to a given triangle in a given rectilinear angle.
Proposition 43.: In any parallelogram the complements of the parallelograms about the diameter equal one another.
Proposition 44.: To a given straight line in a given rectilinear angle, to apply a parallelogram equal to a given triangle.
Proposition 45.: To construct a parallelogram equal to a given rectilinear figure in a given rectilinear angle.
Proposition 46.: To describe a square on a given straight line.
Proposition 47.: In right-angled triangles the square on the side opposite the right angle equals the sum of the squares on the sides containing the right angle.
Proposition 48.: If in a triangle the square on one of the sides equals the sum of the squares on the remaining two sides of the triangle, then the angle contained by the remaining two sides of the triangle is right.

About the Definitions

The Elements begins with a list of definitions. Some of these indicate little more than certain concepts will be discussed, such as Def.I.1, Def.I.2, and Def.I.5, which introduce the terms point, line, and surface. (Note that for Euclid, the concept of line includes curved lines.) Others are substantial definitions which actually describe new concepts in terms of old ones. For example, Def.I.10 defines a right angle as one of two equal adjacent angles made when one straight line meets another. Other definitions look like they're substantial, but actually are not. For instance, Def.I.4 says a straight line "is a line which lies evenly with the points on itself." No where in the Elements is the defining phrase "which lies evenly with the points on itself" applicable. Thus, this definition indicates, at most, that some lines under discussion will be straight lines.

It has been suggested that the definitions were added to the Elements sometime after Euclid wrote them. Another possibility is that they are actually from a different work, perhaps older. In Def.I.22 special kinds of quadrilaterals are defined including square, oblong (a rectangle that are not squares), rhombus (equilateral but not a square), and rhomboid (parallelogram but not a rhombus). Except for squares, these other shapes are not mentioned in the Elements. Euclid does use parallelograms, but they're not defined in this definition. Also, the exclusive nature of some of these terms—the part that indicates not a square—is contrary to Euclid's practice of accepting squares and rectangles as kinds of parallelograms.

About the Postulates

Following the list of definitions is a list of postulates. Each postulate is an axiom—which means a statement which is accepted without proof— specific to the subject matter, in this case, plane geometry. Most of them are constructions. For instance, Post.I.1 says a straight line can be drawn between two points, and Post.I.3 says a circle can be drawn given a specified point to be the center and another point to be on the circumference. The fourth postulate, Post.I.4, is not a constuction, but says that all right angles are equal.

About magnitudes and the Common Notions

The Common Notions are also axioms, but they refer to magnitudes of various kinds. The kind of magnitude that appears most frequently is that of straight line. Other important kinds are rectilinear angles and areas (plane figures). Later books include other kinds.

In proposition III.16 (but nowhere else) angles with curved sides are compared with rectilinear angles which shows that rectilinear angles are to be considered as a special kind of plane angle. That agrees with Euclid's definition of them in I.Def.9 and I.Def.8.

Also in Book III, parts of circumferences of circles, that is, arcs, appear as magnitudes. Only arcs of equal circles can be compared or added, so arcs of equal circles comprise a kind of magnitude, while arcs of unequal circles are magnitudes of different kinds. These kinds are all different from straight lines. Whereas areas of figures are comparable, different kinds of curves are not.

Book V includes the general theory of ratios. No particular kind of magnitude is specified in that book. It may come as a surprise that ratios do not themselves form a kind of magnitude since they can be compared, but they cannot be added. See the guide on Book V for more information.

Number theory is treated in Books VII through IX. It could be considered that numbers form a kind of magnitude as pointed out by Aristotle.

Beginning in Book XI, solids are considered, and they form the last kind of magnitude discussed in the Elements.

The propositions

Following the definitions, postulates, and common notions, there are 48 propositions. Each of these propositions includes a statement followed by a proof of the statement. Each statement of the proof is logically justified by a definition, postulate, common notion, or an earlier proposition that has already been proven. There are gaps in the logic of some of the proofs, and these are mentioned in the commenaries after the propositions. Also included in the proof is a diagram illustrating the proof.

Some of the propositions are constructions. A construction depends, ultimately, on the constructive postulates about drawing lines and circles. The first part of a proof for a constuctive proposition is how to perform the construction. The rest of the proof (usually the longer part), shows that the proposed construction actually satisfies the goal of the proposition. In the list of propositions in each book, the constructions are displayed in red.

Most of the propositions, however, are not constructions. Their statements say that under certain conditions, certain other conditions logically follow. For example, Prop.I.5 says that if a triangle has the property that two of its sides are equal, then it follows that the angles opposite these sides (called the "base angles") are also equal. Even the propositions that are not constructions may have constructions included in their proofs since auxillary lines or circles may be needed in the explanation. But the bulk of the proof is, as for the constructive propositions, a sequence of statements that are logically justified and which culminates in the statement of the proposition.

Logical structure of Book I

The various postulates and common notions are frequently used in Book I. Only two of the propositions rely solely on the postulates and axioms, namely, I.1 and I.4. The logical chains of propositions in Book I are longer than in the other books; there are long sequences of propositions each relying on the previous.

Dependencies within Book I
1	2	3
3, 4	5, 6
5	7	8
1, 3, 8	9, 11
1, 4, 9	10
8, 10	12
11	13	14, 15
3, 4, 10, 15	16	27
13, 16	17
3, 5, 16	18
5, 18	19
3, 5, 19	20
16, 20	21
3, 20	22
8, 22	23
3, 4, 5, 19, 23	24
4, 24	25
3, 4, 16	26
13, 15, 27	28, 29
29	30
23, 27	31
13, 29, 31	32
4, 27, 29	33
4, 26, 29	34	43
4, 29, 34	35
33, 34, 35	36
31, 34, 35	37
31, 34, 36	38
31, 37	39
31, 38	40
34, 37	41
10, 23, 31, 38, 41	42
15, 29, 31, 42, 43	44
14, 29, 30, 33, 34, 42, 44	45
3, 11, 29, 31, 34	46
4, 14, 31, 41, 46	47
3, 8, 11, 47	48

Next book: Book II

from : http://aleph0.clarku.edu/~djoyce/java/elements/bookI/bookI.html

[E-book]Maximize Your Brain Power

This's really a good book to train your brain by doing some exercises.
if you're finding a book like that, this one is for you.

[link removed]
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mathhoang

a good site for study

OUR TUTORIAL

Notices

Quiz

Campus Connect

Campus Tips
Company Profiles
Campus E-Book

BPUT

Question Papers

Seminar Topics

E-Book

College Rankings

Tutorial

Notes

Lab Connect

Fun and Facts

Digit Archieve

http://www.ourtutorial.com/

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mathhoang

[Music] Nhạc lý cơ bản

Nhạc Lý Cơ Bản

Quãng

Quãng là gì ?
Cung và nữa cung
Chất lượng quãng
Ðảo quãng
Một số thuật ngữ
Quãng 2

Quãng 3
Quãng 4
Quãng 5
Quãng 6
Quãng 7
Quãng 8

Hợp âm

Hợp âm là gì ?
Hợp âm và chuỗi hòa âm
Hợp âm đảo
Hợp âm 3 nốt
Cấp độ hợp âm và âm giai

Nguồn gốc tên gọi của các hợp âm 7
Hợp âm 7 trong âm giai trưởng
Hợp âm 7 và cấp độ của âm giai
Xác định hợp âm 7
Hợp âm 9

Âm giai

Âm giai là gì ?
Âm giai trưởng
Các nhạc hiệu cơ bản
Xác định dấu khóa
Một số khái niệm

Nguồn : http://www.ducavn.com/duca_files/VanHoc/NhacLy/NhacLy1.htm

http://nhac.mang.vn/showthread.php?39-Nh%E1%BA%A1c-l%C3%BD-c%C6%A1-b%E1%BA%A3n

[Music] reference site for basic music

http://my.opera.com/muitendenvn/archive/

http://blog.yume.vn/xem-blog/co-ban-hoc-guitar-nhan-biet-nhac-ly-dieu-dem-hat-not-tong-hop.phanduyphong.35AC504D.html

http://nxlcomposer.blogspot.com/2009/08/bo-hop-am-co-ban-cho-cac-giong_22.html

http://dhvinh.com/forum/viewthread.php?tid=34540

http://guitarpro.vn/showthread.php?t=2431

http://tailieu.vn/xem-tai-lieu/bo-hop-am-co-ban-cho-cac-giong.562621.html

http://www.mediafire.com/?4j1zhtgm3mn

Nhạc lý: http://timnt.com/danh-muc/guitar/nhac-ly/guitar-nhac-ly-can-ban-tu-a-z-phan-1
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mathhoang

[Joomla!]useful sites for your reference

http://www.joomla.edu.vn/download-joomla.html?task=viewcategory&catid=4

QContact component( contact with anti-spam ) http://www.joomla.edu.vn/download-joomla.html?task=view.download&cid=10

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mathhoang

[math]Phương pháp dồn biến cơ bản

--
mathhoang

C traps/pitfalls

A really good book to learn about C traps and pitfalls:
======================
c traps/pitfalls

[Music] Nhip 6/8

http://baigiang.violet.vn/present/show/entry_id/204891
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mathhoang

[Brain Training] how to develop visualization skill

Source: http://litemind.com/how-to-develop-visualization-skill/

How to Develop Your Visualization Skill

How to Develop Your Visualization Skill

This is an article by guest writer Albert Foong of UrbanMonk.Net.

Think about this: everything we do begin as a thought. Every action, every word, every human creation exists first in our imagination.

The ability to see things before they actually happen is what enables us to pursue our dreams and ultimately achieve them. In fact, the better we visualize the future we want, the better our chances to make it happen.
Training the Mind is Training the Body

Your brain cannot differentiate well between real action and mental action. There has been research done showing that thinking about an action — even while your body is at rest — will fire the neural pathways in your brain just as you were actually doing it.

To see this for yourself: hold a piece of string and let it dangle. Then, keeping your hand as still as you can, imagine twirling the string around. Most likely, the string will begin to move, ever so slightly.

And that’s the good news: mental training can improve almost all our skills and fast-track us towards our goals.

For instance, many psychologists and life coaches recommend mental rehearsal for all sorts of things. Usually it is social or work-related: to enhance assertiveness, smooth out an interview or a meeting, or even to enhance a date. Athletes at the highest level are also encouraged to use visualization to improve their technique, motivation and drive. When interviewing Olympic gold medalists, they discovered that several winners used visualization, not just for the sport technique, but also to capture the feeling of being awarded a medal.
5 Applied Visualization Techniques

How do we develop and apply the powerful skill of visualization?

Here I present five basic exercises in order of difficulty. Do them in order, moving on to the next one only when you have mastered the first. You can take as many days as you like to get really good at each level, there is no rush.
1st Exercise

Find a photograph, and take your time to analyze it. Memorize every detail you can. Then simply close your eyes and try to recreate it in your mind. Bring in as much as you can: the colors, the birds in the sky, the freckles on the skin — whatever is there. Open your eyes to get more detail if you have to. Remember that this is not a test: do it until you get good at it.
2nd Exercise

For the second exercise, we’re going three-dimensional. This time, take up a small object: perhaps your pen or your keys. Again, analyze all the details and memorize it. Take your time.

Now, close your eyes, and see the object mentally. The challenge here is to start rotating it. See every detail, but from all angles. If you feel comfortable, begin to bring in some surroundings. Place it on an imaginary table. Shine a few lights on it and imagine the shadows flickering.
3rd Exercise

This third exercise builds on the second, and can be hard for some people, although others will find it very easy. This time, recreate your little object, but with your eyes open. See it in the real world, right in front of you. Again, move it around, rotate it, play with it. See how it interacts with the objects in front of you. Imagine it resting on your keyboard, casting a shadow on your mouse, or knocking over your coffee cup.
4th Exercise

This is where things start to get fun. This time, we’re bringing you into the picture. Think of a pleasant location. I like to use my favorite beach. Now, imagine yourself in it. It’s important to be in the scene, not just thinking of it.

Bring in your other senses, one by one. What can you hear? Are the leaves rustling, are there people talking in the background? What about the sense of touch? Can you feel the sand you are standing on? What about smell? Can you imagine eating an ice-cream, and feeling it slide down your throat?

Again, make sure that you are in the scene, not just thinking of it. Make this mental movie as strong and vibrant and detailed as you can.
5th Exercise

And in the final exercise, we’re going to make things a bit livelier. Bring up the mental location from the previous exercise. Now — begin moving around, interacting with things. Pick up a rock. Sit on a bench. Run in the water. Roll around in the sand.

Then, bring in someone else. Perhaps you could bring in a lover, and then choreograph a dance with him or her. Or you could imagine a friend. Hold a conversation with him or her. Imagine them smiling as you tell them a joke. Now, imagine them slapping you on the shoulder playfully. What does that feel like?
Detail and Realism

The reason we emphasize detail and realism is simply because practice doesn’t make perfect. As you might have heard, only perfect practice makes perfect.

If I asked you to imagine the execution of your goals — whether it be doing well in a business meeting, or a date, or sports — you probably saw yourself doing it perfectly straight away. You win big, you look cool, and everyone falls in love with you. This feels good, and can increase motivation but, to put it bluntly, it’s mostly a waste of time.

Realism is the most important consideration in visualization. Soldiers train in almost exactly the same gear they are going to wear in combat. None of them got really good just by playing shooting games on the computer or by playing paintball.

It is the same with mental training. Everything has to be as realistic as possible. I used to be an amateur boxer, and developed my visualization to help me train. My first mental movies were of me moving and punching like Muhammad Ali. But reality soon hit me in the face — the first time I met a live opponent in training, I got destroyed.

My mental imagery up to that point had merely been fantasies — building castles in the air. I had been wasting my time.

But when I began visualizing properly, I found that I made all my usual mistakes, even in mental rehearsal. My heart was beating fast, my fists clenched, and I felt overcome with the same fear. And all this, while I was sitting on the couch!

Did that mean I failed? No, it meant I succeeded. From then on, my mental training began working for me. Because I carried over all my flaws and fears into my mental arena, any improvements I made there would also begin to carry over into the real world.
Applying Visualization to Your Goals

Now, what if we’re not dealing with a physical skill? What if you had set a goal for something like money, a new career or a holiday?

Visualization applies in much the same way. Here are some tips for applying it to your goals:

Focus on the positive. A common mistake is focusing on the opposite of what you want. When I wanted to lose weight, I initially made the mistake of posting pictures of my fat belly all over my room, thinking it was motivating me. But that was the wrong way: by focusing on my fat, I was just keeping the fat there. I should have been visualizing the stomach I wanted.
Have it, don’t want it. Think of something you really, really want. Now, do you have it? Probably not. Most often, wanting is the opposite of having. So when you visualize, don’t think about wanting something, see yourself as already having it.
Be consistent. You have to really work hard on this. Your mind is a muscle, just like your body. The top bodybuilders didn’t get to where they are by working out for two minutes a day. They worked hard for it. Make your goal your burning obsession, a passion and purpose in life.
Be specific. Most people have vague goals. They vaguely want to be rich, or they want to travel somewhere nice. Where? Oh, never thought about it much. It’s like getting into a car with a vague goal of wanting to buy… something. Not going to happen, right? You want to have a specific goal: I’m going out to the supermarket to buy myself some shampoo and a toothbrush. It is the same with your goals. Set it in as much detail as you can: a specific amount of money, a specific outcome from a meeting, whatever it is.

Visualization is a very powerful tool for helping achieving your goals, and I’m grateful that Luciano is giving me a chance to share it with his audience.

Phăng bolero - tự chế

Phăng bolero

không rõ lắm, nhưng sau khi kết thúc một đoạn thường tự phăng thế này, nghe tạm tạm thôi nhưng cũng đỡ trống trải, lấy ví dụ gam Am nhé (đa phần Bolero chơi Am)

Bùm (La) từng tưng tứng (3 2 1) Fa Mi Rê Đô Si Là
tưng tưng tứng (3 2 1)

Nhạc lý cơ bản

http://www.aeguitar.org/forums/showthread.php?t=2900&page=1
--
mathhoang

Các điệu đệm

http://hanvota.com/nhac/guitar/baiviet/TuHocDemGuitar.htm

http://hdtdragonking.googlepages.com/Ganhetcacdieunhac.rar

http://daynhac.com/forum/forum_posts.asp?TID=107

http://sodzach.org/2011/06/cach-tim-h%E1%BB%A3p-am-cho-bai-hat/ [ good ]

http://blog.yume.vn/xem-blog/co-ban-hoc-guitar-nhan-biet-nhac-ly-dieu-dem-hat-not-tong-hop.phanduyphong.35AC504D.html [good]

http://guitar.vn/showthread.php?t=15884&page=1 ( cách học nốt nhạc )
http://guitar.vn/showthread.php?t=19802

giao trinh Guitar
http://www.box.net/shared/liou3njksw
http://www.guitarpro.vn/showthread.php?t=1373

http://my.opera.com/muitendenvn/archive/monthly/?month=200809

Joe Satriani guitar secret
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mathhoang

Teknikal-Notes

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