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Q: Being that total percussionists have various instruments to master, how do you go about practicing everything without one discipline lacking?

Q: What are some good techniques and or guides, tips, or comments to help me improve my sight reading?

Q: Is there a methodology for the sequence of the International Rudiments? If yes, what is it? Is there research available on the topic?

Q: I want to construct a snare solo, around grade 5-6; I want it to be very challenging, since I am already at an advanced performing level. Do you have any tips for writing it?

Q: What are some exercises for sounding less stiff or clumsy in a jazz or fusion setting?

Q: How does one go about becoming a professional drum tech? All day at work I tune drums, repair drums, and guide people towards their ideal set-ups. This sounds to me like what a drum tech does for a living, perhaps I already am one? I guess the real question is, how do I go about getting tech work in the touring/studio world?

Q: Please describe the difference in quality, sound and care of congas made from single construction wood, tongue & groove pieced wood or fiberglass. In a dry climate, is it worth investing in humidity controlled cases for wood congas, or are fiberglass congas a worthy alternative?

Q: I am playing the maraca part to Gershwin's Cuban Overture. How can I best achieve the correct feel? The rhythm is a bit unusual, especially the dotted16th/32nd rhythm.

Q: On drumset, how do I develop a faster and more controllable foot? I am having problems of making my foot faster.

Q: What is the best approach for overcoming anxiety? I have found that with age, I have become increasingly more anxious about performance. In fact, the better prepared I am--and I practice A LOT--the more nervous I become. I am a much different animal in the practice room, and I feel that what I put forward beyond those walls is not at all a representation of the hard work I've logged.

Q: What is crossing the bar? What are some good examples of crossing the bar?

Q: How would I go about tuning a trashy old xylophone to be "on pitch" -- where would I have to sand down or cut into to make a particular bar go up in pitch?

Q: As the result of another teacher leaving, my principal has asked me to take over the African Drumming Ensemble at my school. My background is Band. Could you direct me to a resource where I might learn some basic conventions of the style? I need some sort of "jumping-off point." Thanks!

Q: I have a beginning drum student that is 55 years old. This is his first experience with learning a musical instrument and is quite excited. He is spending time practicing and is very eager to learn. What teaching differences or changes should be made in approach for the older adult beginner rather than the typical 10 - 15 year old beginner?

Q: What kind of damage does playing in the rain do to marching percussion? How should wet battery equipment be cared for? Do I necessarily have to change the heads after a rain performance?

Q: How can we improve the timing of our bass drum line?

Q: How can I improve the speed and quality of my drum rudiments?

Q: How can I get around my set of tenors faster?

Q: I have just started playing four-mallet marimba. My instructor wants me to focus on exercises to strengthen my technique. However, my practice time on exercises is not interesting and I'd rather be playing music. Is there another way to strengthen my technique?

Q: I have memorized my marimba solo and now I’m trying to develop it musically. I’m incorporating all of the markings on the music including the tempo markings. What else can I do to make my solo, “musical?”

Q: How can I develop better accuracy with my two mallet keyboard playing?

Q: How do you select the right timpani mallet for a hall you've never been in if you don't have someone to listen for you?

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