Make sure you are practicing efficiently. Do you really know how to practice the guitar? Are you focused on setting daily and weekly objectives and then practicing in such a way that you will be working towards those goals?

I have written an article on this exact topic titled: Choosing a Teacher. I can’t stress enough how important it is to find the teacher that is right for you! Your teacher (or Lessons DVD) should always be Goal Orientated. If its not look for another teacher or school to study with! You don’t need a teacher to simply give you information or things to practice – you can get those things anywhere, what you need is a teacher who knows what your goals are, Cares about helping you reach your goals, and knows how to help you reach your goals.

These are questions you should ask yourself. The two biggest practicing mistakes I have seen in students (besides not practicing enough) are: 1. Practicing is not goal orientated. 2. Not understanding the difference between playing one’s guitar and practicing one’s guitar. If you are having any difficulties with practicing, talk to your teacher about it. He/she should be able to help you.

You should be able to play all the techniques of the guitar. Van Halen did tapping but not with all his fingers as others have done. He didn’t play finger style much either, but we still regard him as an important guitarist, the same thing can be said for Vai and many others. Classical guitar master John William’s probably doesn’t play well with a guitar pick (I am assuming this to be true, I have no proof of it), but he is considered one of the greatest classical guitarists alive today.

You need to be totally self reliant. If this is not a normal part of your personality, fortunately there is help for you. Only you can stop yourself from procrastinating. Take the initiative now to go forward.

Absolutely spend a good amount of time in practicing reversing that habit. Practice in a new way, where you make sure you do what you weren’t doing before. Analyze the essence of that bad habit, extract it from it’s musical context, and perhaps make up “auxillary exercises” based on the essence of it. Use all the practice techniques that I teach to effectively begin this process of reversal.

There are many other things you could do, with just a small amount of time – use your imagination. Of course, keeping your guitar at the ready is essential. If you only have a few minutes, you don’t want to have to get it out of a case and tune it.

For instance, the process may go like this: I notice I have trouble with a fast scale passage in a piece I am playing. I notice a particular note starts disappearing when I reach a certain speed. The note is being missed. I notice the finger responsible for playing that note is the third finger. It is not getting to the note because it is going up in the air in reaction to the second finger being used right before it in that particular scale passage. In other words, it is tensing in reaction to the movement of it’s neighboring finger, and I have not been paying attention to it. I realize this is a bad habit that pervades my playing, a third finger that tenses up in reaction to the use of the second finger.

My experience with the speed drumming is a strange one. Basically, one October day, while picking up some drum sticks at a local music store, I noticed drummers using a device called a “Drumometer. This “drumming speed” measurement device used a practice pad for a striking surface with an embedded piezo trigger. The trigger was connected to a counter-timer computer brain that had a count and a timer display.

And most of the really successful speed drummers obviously did not want to give away ALL their secrets (understandably). So, I did what I could. And after spending 3 weeks (1-2 hours per session, 4-6 days per week), I managed to improve my speed by about 60-70 beats per minute. I really didn’t expect to win though; since several of Mike Mangini’s Berklee students were to be part of the regional competition.

Drumming at times can be a bit strenuous, though you will be able to play for hours when keeping the body relaxed. Without performing warm-up exercises before playing, the body can become tense and show signs of fatigue within a short while. We will explore exercises that are quick and easy encompassing the whole body from head to toe.

Vinnie Colauita once said, “Just play in 7 for like an hour”. This is especially insightful as we can often get caught up in studying things too closely and miss the point. Sheer repetition will help lead to more comfort in odd times.

Depending on the type of music, begin your solo to match the flow of the music. You might not want to perform a hard and fast solo to slow, smooth, easy listening jazz nor drum softly to hard, power-driven metal. Make your solo tasteful. Let it make a statement and signature of what you are creating. Utilize all the instruments of your drum set such as your snare drum, bass drum, toms, cymbals and other instruments that accompany the drum set. The final step in developing a solo.

However, six months is not an ideal time. If you have been playing the drum too often lately, consider changing it even though you may have changed it four months back. Signs that should tell you it is now the time for you to change are indents and cracks.

Well, I asked around a bit and was surprised to learn that the history of second line is a bit cloudy. Nobody can seem to agree on how it evolved, I heard stories about there being a line of musicians and staff that marched behind the mourners (second line) at a funeral parade in New Orleans. Apparently the musicians would play funeral marches on the way to the funeral and more livelier pieces on the return home.

Drummers like Zigaboo Modeliste and Johnny Vidacovich mixed second line with syncopated funk, developing a style called “second-line funk drumming”. This style was popularized in many famous bands that came from New Orleans like the Meters (see below). Second line drumming often involves a 3/2 son clave not dissimiliar to the Bo Diddley beat although it doesn’t necessarily always follow that rule, and Second line beats are also called “Street Beats”.