It’s likely that many of you know this song, but in case you don’t, go to YouTube and search for “What a Wonderful World Louis Armstrong” and you’ll be in for a real treat.

So if you’re ready, then let’s get to it…

These files are the author’s own work and represent his interpretation of this song. They are intended solely for private study, scholarship or research.

Like my first arrangement, the process started by searching the Internet for the chords and lyrics. “What A Wonderful World” was performed by Louis Armstrong in the key of F, and that’s what I found on the Internet websites. I prefer the sound of chords with open strings, and in F, a few of the chords were not my favorites such as Bb and Db. They’re doable, but I really wanted a friendlier key. After a while of some experimentation and transposing, I settled into the key of C. I decided that, as far as this lesson goes, I’d put my Capo on the fifth fret and my arrangement in C would actually be in Louis Armstrong’s F for those wanting to play along with his recording.

So, here is the Internet arrangement of “What a Wonderful World” transposed to the key of C:

In case you’re not familiar with the tune, here’s the entire melody, written after closely listening to Louis Armstrong’s performance; and, giving credit where credit is due, playing that melody several times for my wife, Nancy, who has a great ear and the ability to say things to me like, “Hank, that note right there didn’t sound right”, or “I think you added an extra beat in there someplace”.

And, here’s how this melody sounds:

Download mp3 (Right-click and “Save as”)

“What A Wonderful World” consists of a verse played a total of three times and a chorus. The first verse ends with a “turnaround” that gets it back to the beginning for the second verse. Following the second verse, the chorus is played once. The third and final verse has four additional measures when compared to the first two verses. Those four measures serve as the final ending.

[NOTE: What I've called the chorus throughout this lesson is actually a bridge. David pointed this out to me after I had submitted my entire lesson, MP3's and all, to him for his review. Thankfully he was kind enough to not insist that I make the necessary corrections in this lesson, which would have involved a lot of work. So please forgive the misnomer and please keep in mind every time you read or hear the word "chorus", it's really the bridge that's being referred to. One final word on this... my error made it obvious that I needed a little work at recognizing song structure, so I read and bookmarked David's lesson, "Unearthing The Structure". I think I've got it now.]

Initially I began playing the chords in root position as taken from the Internet, and I sung along. It wasn’t bad, but I thought I could do better, particularly by adding some movement in the bass. I also decided that I wanted to catch as many melody notes as possible on the upper strings of the various chords to help carry my voice and the voices of those in my church who would be singing along with me. So, here’s what I came up with, starting with the first verse and “turnaround” ending:

As you can see, the first line has a descending bass movement from C to B to A to G. Similarly the second line bass notes move from D to C to B to A. There’s even a bit of ascending bass movement in the turnaround in the last line from C to E to F to G. As mentioned earlier, I’ve also incorporated most of the melody notes into the upper strings by carefully selecting the various chord voicings. If I’m really conscientious about ending the chords on a melody note, then I have to be careful not to play the first string on the C chord in the first line, on the E7/B and Am chords in the second line, and on the Dm7/G and G6 chords in the third line. The reason for this is that in these chords the melody notes fall on the second string. If I really want to get picky about hitting the melody notes, then I also have to avoid the first two strings in the Ab chord in the third line since the melody note is the C on the third string. Frankly, this all may be more trouble than it’s worth, particularly if you are strumming. The chord voicings do sound fine as written, and the vocalist will hopefully be hitting the melody notes properly.

Of the chords in this first verse, I have a few favorites. One is the F6/A in the first line. I wanted to hit the A melody note on the fifth fret of the first string, so I knew that I could take a “C form” partial barre chord and slide my first finger up to the fifth fret to play an F chord called for in the Internet arrangement. However I wanted an A as the bass note, so it made sense to play an open fifth string to get the A in the bass. I realized that leaving the fourth string open would make the fingering of the chord much easier. I also realized that the D of that open fourth string is the sixth of an F chord. I strummed, it sounded beautiful to me, so the F6/A became my choice.

My other favorites are the four chords that make up the turnaround in the last line. First, there is an ascending bass line. Second, the open high E string that all four chords have in common is the melody note that is held for two measures and, in my mind, gives the very cool effect of a “pedal” tone.

Let’s listen to the first verse. Because this song was arranged with a lot of attention to movement in the bass notes, this first sound file will be played by striking the bass note on the first beat followed by a down stroke on the second beat. I will try to end those down strokes on the melody note, but again if I miss one here or there it won’t make that much difference. As long as the notes strummed are part of the chord, they’ll sound fine. In case you’re interested, I’m using a pick for this.

Download mp3 (Right-click and “Save as”)

Let’s have another listen to the first verse, this time played finger style. With my right finger picking hand, I generally use my thumb for the bottom three strings and use my index finger on the third, my middle finger on the second, and ring finger on the first string. Again I’ll be attempting to hit the bass note on the first beat, though at times I will likely “pinch the bass note with my thumb and catch a higher chord note with one of my fingers. After playing the bass note, I generally will play the rest of the chord with arpeggios, trying to catch the melody note as the top voice. But don’t be surprised if I through in a simple strum now and then for variety.

Download mp3 (Right-click and “Save as”)

Let’s now have a look at the second verse:

As you can see, the only difference between the first and second verses is the ending. In playing the C and the F chords for the ending’s first measure and the C chord for the ending’s second measure, it is a good idea to try to stay clear of the high E string since the melody note for both measures is the C located at the first fret of the second string.

Let’s listen to this second verse. I’ll play it through once – again I’ll be hitting the bass note on the first beat. On the second half of that beat I’ll be hitting the next chord note and on the second full beat I’ll pluck the remaining chord tones. I’ll be using just my right thumb for first beat and just my fingers for the second.

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That wasn’t so bad, was it? The second verse leads right into the chorus; so let’s see how this looks:

A few words about the chorus: The G chord in the first two lines is voiced so that the D melody note is included on the second string. If you are intent on emphasizing that melody note, simply avoid playing the first string. The Csus4 chord resolving to the C chord in the first two lines emphasizes the portion of the melody that moves from the F to the E on the first string. The reason for voicing the Am7 chords in the third and fourth lines as barre chords is to catch the A melody note on the first string. The G chords that follow could just as easily be played in an open position, if that’s your preference – I just find it easier to slide my index finger down two frets and reform the G chord as a barre. I really wanted to accentuate the D melody note on the final G chord so I intentionally placed an “x” on the first string as a reminder not to play that string.

The optional “Blackbird” licks notated in the first measure of the first two lines are applicable if you are playing this arrangement finger style as I usually do. That first measure can certainly be played utilizing the G chord for all four beats, or alternatively, to make things a bit more interesting, the G chord can be played for two beats and the “Blackbird” lick can fill in the last two beats if played as a triplet. Most of you probably recognize this as part of the Beatles’ Blackbird (Guitar Noise Songs for Intermediates # 2), although you can certainly hear it in many other songs as well. On the sound files you’ll likely hear me playing this first measure as follows:

Let’s keep things simple for a moment and listen to the chorus strummed without the “Blackbird” lick:

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For the next sound file for the chorus, I chose to go finger style, and I chose to go with the “Blackbird” lick, because I like it so much, and it just seems to add interest to the accompaniment. At the very end of the chorus, one thing you’ll hear me do on the Dm7/A chord is to actually play the melody to “I love you”. It’s pretty simple – all I do after hitting the F on the first fret of the first string is lift my index finger and strike the open E melody note. That followed up by the Em/G chord with the second string D as the melody note and you’ve got it. So, without further ado, let’s have a listen to this version:

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At last we arrive at the third and final verse. As you’ll see, the first two lines are identical to those in the first two verses. The third line starts out the same as the previous verses but has a different ending in the last two measures. And there is a fourth line that serves as the ending for the song. Here’s what it looks like:

In my opinion, it’s a good idea to play the melody note of the very last three chords (the ending) properly. All that entails is to avoid the first string in the first C chord, so that the melody, the “world” is played on the C on the second string for two beats. The “Oh” is sung over an F7 chord, and again the first string should be avoided to accentuate the melody note C on the second string for another two beats. The final C chord that accompanies the “yeah!” can be played normally and held for four beats since that very last melody note is on the open E of the first string.

Just to mix things up a bit, I’m playing this verse using my thumb to strum the chords. Here’s how the entire third verse sounds:

Download mp3 (Right-click and “Save as”)

As tempting as it might be to call it quits here, to make this song really sound professional, it really needs an “intro”. I wanted some type of instrumental “intro” that would make a nice transition into the vocals. I decided that the ending of the first verse – the part that goes, “… and I say to myself, what a wonderful world.” – would work well. I wanted this “intro” to be a chord melody style and here’s what I came up with:

Let’s give this “intro” a listen:

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Well, we’ve been through all the sections of “What A Wonderful World” and now the real work begins! Practice, practice, practice until the chord changes come naturally and our fingers fall into place without having to think too much about it all. I certainly do need more practice. Anyway, here’s the complete arrangement from the very start of the song down to the sweet “Oh yeah!” finish:

And, as an added bonus, here’s my humble attempt at playing “What A Wonderful World” in its entirety. This time through I’ll be playing the “intro” and verses finger style. I’ll also be playing the chorus with my fingers, but I’ll primarily be strumming and will be leaving out the “Blackbird” licks this time through. That’s the nice thing about this and most other songs… there’s really no set rule that says that you have to play it one particular way or play it just like someone else. Best thing is to do what sounds good to you and what is within your capabilities.

Download mp3 (Right-click and “Save as”)

In closing, I just want to repeat what I said at the end of my previous lesson, that arranging this tune was has taken a lot of time and effort, but again it was well worth it. I’ve learned a great deal by doing this, and the end result is very personally satisfying and rewarding. I’m confident that I’ve got lots more arrangements in me just waiting to come out.

Making a lesson is as much work as, if not more than, the actual arrangement itself, and again really makes me appreciate how fortunate we all are to have Guitar Noise and all the writers here who take the time to help make all of us better players. Thank you again for that, Paul, David, and everyone! I’m happy to be able to contribute to this wonderful organization.

And, as always, please feel free to post your questions and suggestions on the Guitar Noise Forum’s “Guitar Noise Lessons” page – I do follow that forum and will be happy to read your comments or answer your questions. You can also email David directly at dhodgeguitar@aol.com. David has been good at forwarding comments that you may want to make to me.

Until next time,

Hank Stupi

Fast forward to the 80’s… I got into playing harmonica, pretty much by ear, copying licks from every blues album I purchased. I practiced a lot and got real good. So happens I landed a job as an accounting professor at a community college (great job – stayed at it until retiring in 2006) and among the many perks were free classes. So I took an “Introduction to Music Theory” class to help me figure out what the heck I was doing on my harmonica. That class changed my path drastically. Within a few years, I’d taken three theory classes, two ear-training/sight reading classes, two piano classes, and a jazz-improvisation class. I then became dedicated to becoming a pianist and spent the next five years rigorously practicing, but then came face to face with the hard reality that I had no talent for the piano.

A bit dejected at my failure as a pianist in 2001, I decided to revisit the guitar, but this time trying to integrate the musical knowledge I’d picked up along the way. So for about seven years I went through dozens of video lessons and almost as many instructional books. I practiced a lot, but somehow it never all came together. Then early in 2009 I discovered Guitar Noise, a major milestone on my journey. David’s style of teaching and playing fit me like a glove. I started at the beginning and went through every podcast – all of a sudden I really understood and could play rhythm. I could even add simple bass lines and frills here and there to make things more interesting.

As the months went by, I went through all of the easy songs for beginners and most of the songs for intermediates. All those years of practice soon seemed to pay off as everything started to fall in place and my confidence increased. In mid-July 2009 the pianist who does the accompaniment at my church told me that she’d be out of town the following week and asked if I could put on some CD’s for the hymns. Somewhere the courage came for within to suggest that I provide the accompaniment on my guitar. I wasn’t wild about most of the songs in the hymnal, so I chose “Imagine” by John Lennon, knowing that Guitar Noise has a nice arrangement of that, and the old spiritual “Down By The Riverside” from the hymnal. I even decided to play during our quiet time of reflection, a soft arpeggio arrangement of “If” by Bread which I learned years ago. I practiced hard and everything went well. In all honesty, what mostly gave me the courage to do this is what David has said time and time again, something like… “Don’t get hung up on making mistakes. You will make mistakes – the only way not to make them is not to play, and that’s not an option. The important thing is to maintain the tempo.” Anyway, I’ll be filling in for her for three months this winter when she heads south.

So, why did I choose “Smile” as my very first arrangement? Well, in preparation for my church “gig” this winter, I’ve been keeping my ears open for songs that I know and believe most folks in my church will know. I like songs that have a nice message. “Smile” fit the bill. Coincidentally it happens to have been Michael Jackson’s favorite song… it’s always been one of my favorites too. Why a chord melody arrangement? I like the challenge and I like the beauty of a nice chord melody arrangement. I’ve always considered these arrangements as beyond my capabilities, however the lessons here at Guitar Noise have instilled in me a “can-do” attitude that I previously lacked. I’ve learned that if I keep the arrangement within my own playing abilities and don’t worry about sounding exactly like someone else’s recording, with some experimentation, effort, and patience it can be done.

“Smile” was the theme music for Charlie Chaplin’s last silent picture, “Modern Times,” in 1936 composed by Chaplin himself. It became officially “Smile” when John Turner and Geoffrey Parsons added the lyrics. If you go to YouTube and search for “Smile Nat King Cole” you’ll hear his wonderful vocal and orchestral performance.

So if you’re ready, then let’s get to it…

These files are the author’s own work and represent his interpretation of this song. They are intended solely for private study, scholarship or research.

The process started by searching the Internet for the chords and lyrics. Here’s what I initially found:

I know the melody to “Smile” and quickly realized that in the key of A, I would have to play it on the second, third and fourth strings. That seemed way too low, so I strummed a basic C chord and found the melody easily playable on the first, second, and third strings. That sounded much better to me. So my first step was to move all of the chords up three semitones as follows

In case you’re not familiar with the tune, here’s the bare bones melody, written from memory:

Here’s how this rather simple melody sounds:

Download mp3 (Right-click and “Save as”)

“Smile” is pretty much a “verse only” song structure that is basically sixteen measures long. And thinking of that verse as being divided into two equal parts makes a lot sense. In my arrangement, the verse is played twice. The first time through it ends with a “turnaround” that gets it back to the beginning of the song. The second time through it ends with a small “coda” or outro that serves as the ending. When Nat King Cole recorded this, the verse was played a third time, all instrumental for the first eight measure part, followed by vocals for the second eight measure part, and ending the tune with the outro.

Now since I wanted this to be a chord melody arrangement, I began playing the above chords and seeing how I could best fit all of the melody notes in. As an example of my first attempt, let’s look at the first four measures:

Initially, that sounded pretty good to me, although a bit busy since it consisted of all eighth notes played in arpeggios. I proceeded onward in this style and after many hours sent a copy of my initial arrangement to David here at Guitar Noise. His response was encouraging, saying it was a very cool arrangement and also pointed out that there were definitely more things that could be added, particular with running the bass notes a little more.

Looking at my “first draft,” I realized that he was certainly right about running the bass lines. I pretty much had stuck with the root note of each chord. So I decided to work on the arrangement some more seeing if I could create some movement in the bass. As I worked on this, I could see plenty of room for bass line movement, however, adding additional bass notes made the arrangement even busier and much harder to play. I found that if I truly wanted to add some bass lines, I had to simplify and pare down a lot of the “busy-ness” in the upper strings. As I did this, the arrangement actually became sparser, but began to sound more interesting. Losing many of the eighth notes seemed to make it “breathe,” which made the arrangement sound more of a natural character and less as a first time exercise. To show you what I mean, let’s look at the final version of the first four measures:

As you can see the eighth note arpeggios are greatly simplified and there is definite descending bass line movement. The descending bass pattern of the first two measures repeats itself in measures 3 and 4. Actually, the entire accompaniment (the part on the lower four strings) follows the same two-measure picking pattern, making it easier to play. Looking at the chord boxes, a big difference is the addition of many more chords. Those additional chords were necessary not only to take into consideration the additional bass notes, but also to help me in placing my fingers on the fret board to play the necessary melody notes and other chord notes which enrich the arrangement.

OK, I’m ready to discuss some of the theory and technical aspects of playing this tune. But before I do, I want to mention a valuable lesson that I learned as I practiced this tune. In the final stages of putting this lesson together, I had a conversation with my sister-in-law about what I had been doing for Guitar Noise. She made a comment to me about putting “feeling” into music. Her comment came serendipitously at just the right moment. The more I had practiced in the previous few days, the less I liked how my arrangement was sounding. As I was practicing “Smile” later the evening of our conversation, I realized that what had been missing was this musical “feeling”. I had previously been concentrating solely on the “mechanics” of the tune. I found that by slowing down and attempting to put into this tune the part of music that tends to stir my spirit, everything sounded so much sweeter. I hope I can convey some of that in the MP3 files that we’ll encounter later on.

First of all, with my right finger picking hand, I generally use my thumb for the bottom three strings and use my index finger on the third, my middle finger on the second, and ring finger on the first string.

I start off the first measure by forming a C chord. On the third beat, I simply lift my middle finger from the second fret of the fourth string and place it on the B at the second fret of the fifth string to form the C/B chord. I then catch the D melody note on the third fret of the second string with my pinky. Since I’ve kept my index finger on the first fret of the second string, I simply go into the second measure by keeping my index and pinky fingers in place, while placing my middle and ring fingers in their normal positions for the Am chord. After lifting my pinky to play the C in the melody, I form a Gadd9 chord with my ring finger on the G at the third fret of the sixth string and my middle finger at the A melody note on the third string, which is the ninth of the Gadd9 – in practicing this I often find myself finger picking the open G string just prior to covering the second fret of that string, rather than picking the open D string as written, but since they’re both chord tones it sounds fine either way. Either way, since I’m not playing the first string, I just leave that open. In measure three the Cmaj7 chord gives me what I need for the first two beats. For the last two beats I shift my middle finger to the B bass note on the second fret of the fifth string. Since I’m not playing the fourth string I don’t worry about covering the second fret. I play the last two melody notes with my index and pinky fingers. In measure four the Am chords works well. I need to lift my index finger to strike the open B melody note. The Gadd9 appears again at the end of the fourth measure and again I don’t concern myself with the unplayed high E string. By lifting my middle finger I’m ready for the final G melody note of the open third string.

Let’s give these first four measures a listen:

Download mp3 (Right-click and “Save as”)

Here are measures five through eight:

Again there is a nice descending bass line in the first two measures above, as well as in the last two measures. If you look at Babylon – David Gray (Guitar Noise Songs for Intermediates # 1), you’ll notice a lot of similarity between the last measure above and David’s second measure of the second line in the chorus of Babylon. I borrowed part of that neat lick from him.

Let’s talk about the fret board fingering. The Am in the first measure above is fingered normally and should present no problem. To play the G6, I simply lift all my fingers and catch the G at the third fret of the sixth string with my ring finger. I don’t worry about the B on the fifth string since I don’t play that note. The C melody note on the first fret of the second string is easily fretted with my index finger. Keeping that index finger in place I move on to the Fmaj7 using my thumb to catch the low F. After all that work, I take a brief rest and completely remove my left hand and simultaneously play the open second and sixth strings catching the C melody note on the second string easily with my index finger. After that brief rest, I form a Dm chord moving into the third measure above. After that I give myself a break again and play the Cmaj7 chord by simply lifting my fingers and placing my ring finger on the third fret of the fifth string and again catch the last melody note of that measure with my index finger. Well rested, I’m ready to quickly form an A chord, ending the last measure above with the “Babylon lick,” using my index and middle fingers first, finishing that lick with my middle and ring fingers.

Let’s see how these four measures sound

Download mp3 (Right-click and “Save as”)

The second half of “Smile” is arguably prettier than the first half. Let’s look at measures nine through twelve.

In these four measures there’s a temporary break from the walking bass lines in the first half of the tune. Also for the sake of some variety the first and third measures above have some pretty arpeggios incorporating both the melody and bass notes.

Let’s discuss the fingering. A Dm7 barred chord makes the first measure above a snap. The only additional requirement is to catch the G melody note at the eighth fret of the second string with the pinky. In the second measure above, hold everything momentarily in place as the G melody note is struck and then quickly bring your fretting hand back to the lower register of the fret board. Striking the open D string buys a bit more time to get your index finger on the F for the eighth note at the first fret of the first string. I play the D note at the third fret of the second string with my ring finger. For the third measure above, jump right into an Fm chord played with a partial index finger barre of the first three strings at the first fret while covering the F root note at the third fret of the fourth string with your ring finger. I hold that chord form and use my pinky at the third and then fourth frets of the first string for the last two melody notes of that measure. That same shape also serves me well for the first three notes of the fourth measure above, again using my pinky to go from the G to the F melody notes on the first string. To finish up that last measure I hit the open high E string while moving my middle and ring fingers into position for the last two notes at the third fret.

Here’s how it sounds

Download mp3 (Right-click and “Save as”)

We’re at the home stretch with the last four measures and endings

As you can see, we’ve got a nice descending bass line again. For the Cmaj7 chord in the first measure above I try to really let the upper three open strings ring out as this tune draws to a close, carefully placing my index finger on the F melody note at the first fret of the first string while placing my middle finger on the B bass note at the second fret of the fifth string to form what we need of the Cmaj7/B chord. After lifting my index finger to get the open high E string, I play a simple version of an F chord. I do want to strike the open A string for the bass note, so technically this is an F/A chord since the A note is in the bass. As much as I’d like to let the three upper strings ring, I find myself removing all of my fingers in anticipation of the upcoming G6 chord played with my ring finger on the bass note and pinky on the melody note – I don’t worry about fingering the B on the fifth string and therefore avoid striking that open fifth string. Another point, since I am not playing the open E first string, the sixth of a G6 chord, this really ends up being a G chord with a D as the upper melody note. As I lift my pinky, I’ve got my index finger on the C melody note at the first fret of the second string.

The Dm/F in the third measure above takes some practice. For me the best way to form it is by placing my thumb on the F bass note and forming a Dm chord normally with my fingers – actually in practicing it, I’ve found it helpful to forget about struggling to get my index finger onto the first string, since I’m not hitting that high F note anyway. Once I’ve got that it’s not too difficult – all I need to do is lift my middle finger from the second fret of the third string to play the open G melody note.

For the first ending, I just place my ring finger on the G bass note, again not worrying about the unplayed fifth string and simultaneously strike the open high E melody note, the sixth of a G6 chord. My guess is that most of you recognize what comes next as part of the Beatles’ Blackbird (Guitar Noise Songs for Intermediates # 2), although you can certainly hear it in many other songs as well. This “Blackbird lick” leads us nicely into a repeat of the entire tune.

In the second ending (or third ending depending on whether you’ve played this through three times as Nat King Cole did) that same G6 chord is fingered and for the necessity of playing the open high E melody note twice, played as an arpeggio. The tune is ended with a C chord. I try not to strike the high open E string since the melody is at the C at the first fret of the second string. I sometimes play this last C chord for two measures. I’ll either play the first measure with arpeggios and the second by strumming the C chord. I’ve also strummed the C chord for a measure and then let a pair of harmonics ring out on the first and third strings since they are C chord tones. The choice is yours.

Let’s have a listen to these last measures. By the way these last measures with the first “Blackbird” ending can be used as an excellent introduction at the beginning of the tune.

Download mp3 (Right-click and “Save as”)

Here’s the entire tune:

In preparing this lesson’s final MP3, the complete arrangement of “Smile”, I learned two valuable lessons that I’d like to share. I had never recorded my playing before and I learned how helpful it is to truly listen and hear where more work or practice needs to be done. The other valuable lesson that I learned as I listened to my MP3 attempts was the importance of emphasizing and keeping the melody flowing in a chord melody arrangement. As I made the many chord changes in the tune, I was able to hear short and slightly unpleasant hesitations in the melody. I really had to work on that, so much so that in the F and Dm/F chords near the end of the tune, I found it helpful to strike the melody notes on the beat and delay the bass notes for a half beat in order to keep the melody flowing. I haven’t mastered “Smile” yet, but I hope you’ll find it pleasing nonetheless. So without further ado, here’s my rendition of this song:

Download mp3 (Right-click and “Save as”)

In closing, I just want to say that arranging this tune has taken a lot of time and effort, however, the journey and end result has been very personally satisfying and rewarding. I’m ready for a break for a while, but I’m sure that I’ve got more arrangements inside of me… I’ve been thinking about “What A Wonderful World” by Louis Armstrong, another one of my favorites.

Making a lesson out of this arrangement has been a lot of work also, and really makes me appreciate how blessed we all are to have Guitar Noise and all the writers here who take the time to help make all of us better players. Thank you for that, Paul, David, and everyone! And thank you as well for giving me the opportunity to be a part of this wonderful organization.

And, as always, please feel free to post your questions and suggestions on the Guitar Noise Forum’s “Guitar Noise Lessons” page or email David directly at dhodgeguitar@aol.com. I’m sure that David will forward any comments that you may want to make directly to me.

Until next time,

Hank Stupi