Lirik Lagu Bruno Mars – Grenade

Easy come, easy go
That’s just how you live, oh
Take, take, take it all,
But you never give
Should of known you was trouble from the first kiss,
Why were they open?
Gave you all I had
And you tossed it in the trash
You tossed it in the trash, you did
To give me all your love is all I ever asked,
Cause what you don’t understand is
I’d catch a grenade for ya (yeah, yeah, yeah)
Throw my hand on a blade for ya (yeah, yeah, yeah)
I’d jump in front of a train for ya (yeah, yeah , yeah)
You know I’d do anything for ya (yeah, yeah, yeah)
Oh, oh
I would go through all this pain,
Take a bullet straight through my brain,
Yes, I would die for ya baby;
But you won’t do the same
No, no, no, no
Black, black, black and blue beat me till I’m numb
Tell the devil I said “hey” when you get back to where you’re from
Mad woman, bad woman,
That’s just what you are, yeah,
You’ll smile in my face then rip the breaks out my car
Gave you all I had
And you tossed it in the trash
You tossed it in the trash, yes you did
To give me all your love is all I ever asked
Cause what you don’t understand is
I’d catch a grenade for ya (yeah, yeah, yeah)
Throw my hand on a blade for ya (yeah, yeah, yeah)
I’d jump in front of a train for ya (yeah, yeah , yeah)
You know I’d do anything for ya (yeah, yeah, yeah)
Oh, oh
I would go through all this pain,
Take a bullet straight through my brain,
Yes, I would die for ya baby;
But you won’t do the same
If my body was on fire, ooh
You’ d watch me burn down in flames
You said you loved me you’re a liar
Cause you never, ever, ever did baby…
But darling I’ll still catch a grenade for ya
Throw my hand on a blade for ya (yeah, yeah, yeah)
I’d jump in front of a train for ya (yeah, yeah , yeah)
You know I’d do anything for ya (yeah, yeah, yeah)
Oh, oh
I would go through all this pain,
Take a bullet straight through my brain,
Yes, I would die for ya baby;
But you won’t do the same.
No, you won’t do the same,
You wouldn’t do the same,
Ooh, you’ll never do the same,
No, no, no, no

Lirik Glenn Fredly - Kasih Putih

• Terdalam yang pernah kurasa
  Hasratku hanyalah untukmu
  Terukir manis dalam renunganku
  Jiwamu... jiwaku menyatu
  
  Biarkanlah kurasakan
  Hangatnya sentuhan kasihmu
  Bawa daku... penuhiku
  Berilah diriku kasih putih
  Di hatiku
  
  (Ku datang padamu kekasihku)
  
  Kucurahkan isi jiwaku
  Hanyutkan daku
  Dalam air hidup
  Kau bawa slamanya
  Diriku
  
  (Peluk aku oh kasihku)
  (Taburiku dengan cinta)
  
  (Kutemukan arti hidupku denganmu)

Leather Harmonica Cases Make Carrying Harps Safe and Convenient

Although harmonics are traditionally associated with the blues and folk music, harps have long been played in music genres as varied as classical, rock, and even hip hop. The harmonica is the musical instrument for choice for many people both because of its portability and because you don't have to learn to read music in order to learn to play the harp.

For players who like to carry their harmonicas with them, there are a variety of leather harmonica cases that serve to protect harps in style. Here are some of the most popular:

Harmonica Holster with Loop: Perfect for carrying in your pocket or in your luggage, the harmonica holster is backed with a leather loop for sliding onto your belt. These leather harmonica cases come in two sizes, and are made to carry either a 10-hole diatonic harp or a 12-hole chromatic harmonica. You can even attach multiple holsters to your belt if you want to carry more than one harmonica.

Multi-Slot Leather Harmonica Cases: If you want to carry several of your favorite 10-hole diatonic harps, a multi-slot case will fit your needs perfectly. These types of cases come in several different sizes, to hold varying numbers of harmonicas. A four-slot case will hold four harps, a six-slot will hold six harmonicas, and a twelve-slot will hold twelve harps. A unique feature of some multi-slot harmonica cases, like those made by Buckeye Leather or Pullman, is that you can wet the pouches in order to custom fit the case to your favorite 10-hole diatonic harps. They also feature a leather flap so that your harmonicas are completely covered. <

Harmonica Waist Wraps: A harmonica waist wrap has two major advantages: you can slide your own pants belt through the slots at either end, making it a "one size fits all" leather harmonica case, and it's open so you can easily access your harps. A waist wrap typically holds six harmonicas.

Harmonica Belts: If you don't normally wear a belt, but want your harmonicas within easy reach, these leather harmonica belts offer the best of both worlds. Lined with Velcro, the ends are easy to adjust, as well as to put on and take off. Harmonica belts are typically offered in three sizes, and fit waists from 28 inches to 44 inches.

Combination Straps: If you play a stringed instrument as well as the harp, combination straps are perfect. Typically, these are adjustable leather guitar straps, banjo straps, and mandolin straps that have four pockets for harmonicas.

Briefcases: Although harmonica briefcases aren't typically made from leather, they do come in handy for professional harp players who need to transport a dozen or so of their harmonicas to gigs.

The best leather harmonica cases are made from leather tanned in the U.S. and then cut, formed, and buffed by hand. Over time, the leather softens and almost becomes an extension of your harp - or at least a comfortable home for those times when you're not playing it.

Acoustic Guitars - The Best Tuners

Tuning your acoustic guitar is the first step in your guitar playing career. Whether by skill, talent or technology, you must be able to get your guitar into tune.

One common obstacle to learning to tune a guitar is a certain natural resistance to aquiring new knowledge. This reluctance is present in everybody to some degree. The prospect of learning to tune a guitar by ear can fill some people with a sense of dread.

Before we start to tackle the job of tuning, we need to get straight which string is which. The first string is the narrow string nearest your knee as you sit with the guitar in playing position. The sixth string is the widest string, and it is closest to your chin.

And the tuning goes like this:
1st string is "E"
2nd string is "B"
3rd string is "G"
4th string is "D"
5th string is "A"
6th string is "E"

The guitar pitch pipe plays the notes when you blow into it so you can compare the sounds with your guitar.

A tuning fork, when you bang it on your knee and hold it on the body of your guitar, sounds the note you get when you play the harmonic at the fifth fret of the fifth string. Once you get this note right, you tune the rest of the strings to the fifth string.

If you have tried the methods of tuning guitars using a pitch pipe or tuning fork, and still feel less than confident in your guitar tuning abilities, then you could think about acquiring a guitar tuner that has a visual aid to tuning. You can always test your skill from time to time by tuning your guitar without the tuner, and seeing how accurate you have become.

You can also use a keyboard instrument to tune your guitar to. Start by finding on the keyboard the E note below Middle C. Then GO DOWN ANOTHER OCTAVE to tune the sixth string on the guitar. This is because the guitar's music is written an octave higher than it actually sounds compared to a piano!

The electronic guitar tuner is the simplest way of tuning your acoustic guitar. You pluck your guitar string and watch the indicator on the tuner to see how close you are to the correct note. There are also guitar tuners you can get for free on the internet that work the same way.
Online Guitar Tuners often play the notes to you, and you use your ear to see if your guitar is in tune.

Learn To Play Guitar Fast

When you watch somebody play fast on the guitar do you always wonder if you could learn to do that? Let us look at what resources we need to increase our own guitar playing speed on a regular basis.

The very first thing you are going to need is a metronome. You can buy one from your local music store, steal one from a maiden aunt or download one for free on the internet. If you choose to steal one, then I am afraid you will not make much progress in your quest to play guitar fast because shortcuts just do not work. Most of us look for the quickest and most painless way to do things, and that is why most of us are not playing guitar at the speed of light.

Okay, you have your metronome and an attitude adjustment. You are ready to begin. The next thing you need is something to practice. It can be a solo passage from a song. It can be an exercise, like a series of arpeggios or a picking exercise. You need to choose your material carefully because you will need to know exactly how fast you want to play in terms of the settings on your metronome. You may or may not need to spend time learning your passage from scratch as some familiarity with the piece is necessary to start increasing how fast you play it. By familiarity I mean the muscles in your fingers, hands and arms need to be able to play your piece without hesitation.

So that is the next thing you need. In order to play guitar fast you need to be able to play slowly. The exercise you have chosen to play should not be too easy, but at the same time it should not have too many tricky bits. That is why you are using an exercise or an isolated passage rather than a song or long solo.

Now you are starting to see the way ahead. If you have your practice passage ready, check it with your metronome. Make sure you know what your present speed is. The next thing is to take a metronome setting not too far above your present one and make that your goal.

Let us now talk about something you do not need. Muscular tension. You need to practice playing guitar fast without building a level of tension in the muscles that will work against your goal. In order to escape the possibility of too much tension you need to forget about time frames. You have your goal in the metronome setting. Leave the time open ended. The idea is not to actually PLAY guitar faster at sometime in the future, but to WORK A LITTLE BIT ON PLAYING FAST every day.

So if you choose a passage to practice in order to play fast, and you devote some time every day to practicing, your guitar playing speed will begin to increase. Once you have reached a level of skill on one exercise, choose another one with a couple more challenges. But remember to begin again from the beginning. Ascertain where you are now and decide on a realistic goal for your next step.

Green Day - Jesus of Suburbia

The final single off Green Day's rock-operatic album American Idiot is Jesus of Suburbia. To understand the song Jesus of Suburbia it is first crucial to understand that American Idiot was created as a cohesive rock-opera in the form pioneered by The Who. Jesus of Suburbia is the protagonist of the whole album and the song itself is a chronicling of this disaffected youth's life and times.

Since Jesus of Suburbia stands for all young rebels he is not given a name and he hails from Jingletown, USA. He is the child of a divorced mother and dates a girl called Whatshername. He spent most of his time watching TV, doing drugs and just hanging around - and was fed as the song states a "steady diet of soda pop and Ritalin". Even with his okay life, this young punk feels trapped and bored in his hometown and wants to get away from it all. As such, by the end of the song, he decides to leave Jingletown, USA to explore The City. What he does in the city is described in detail in the rest of the album - especially in the songs Holiday and Boulevard of Broken Dreams.

This conceptual song is made up of five parts and runs a whopping nine minutes long although for radio broadcast it was cut down to about six-and-a-half minutes. The five different parts are actually five different songs transitioned together. They are:

- Jesus of Suburbia
- City of the Damned
- I Don't Care
- Dearly Beloved
- Tales of Another Broken Home

Released only one month ago on October 25, 2005 the song has yet to prove its shelf life. Although its unusual length means that it might only see limited airplay given its content and the fact that it is a thematic conclusion to Green Day's biggest album to date, it would be very surprising indeed if the song did not see at least some success.

The video for the single was planned as a mini-movie with the original video running a staggering fourteen minutes long with scripted dialogue while the shorter more airplay-friendly version sticks to the original song content and format. The director of the video was Samuel Bayer and it stars Lou-Tayler Pucci - a relatively unknown actor of Indie movie fame who has started to see his star rise lately thanks to such film releases as Thumbsucker and The Chumscrubber.

The members of Green Day are especially well place to comment on the plight of the youth of the nation. Billie Joe Armstrong and Mike Dirnt grew up knowing first hand the hardships of living in a single parent family. When Billie Joe's father passed away when the charismatic lead singer was only ten years old his mother was left to care for him and his five siblings on a waitress' salary. Mike Dirnt's parents were divorced when he was seven and he lived with his mother who worked three jobs to support them. As a result he never saw her. Jesus of Suburbia is definitely a nod to their past and a shout-out to their fans many of whom probably come from very similar backgrounds as their heroes.

American Idiot is a revolution in punk-rock music making and marks a turning point for Green Day; with this rich album they have effectively catapulted themselves to the next level of their careers.

Songwriting Concepts

What makes a great song? It's a big question, and one that has been written about endlessly in an attempt to unravel the "formula" for creating a world dominating smash hit record. Sure, there are some basic rules and if you were to examine a handful of the most successful or popular songs of the last four decades, they do have certain things in common. Intro, verse, bridge, chorus, verse, bridge, chorus, middle 8, chorus, chorus etc springs to mind!

We can examine things like structure, melody and production very easily but for a greater understanding of the "smash", we need to look at concepts. Have you ever wondered why some songs seem to "connect" with people and others don't? When asked why people like a song, they will usually say something along the lines of "I like the tune" or "it's got a great beat". Very rarely will the average music consumer tell you they love a song because of the clever way it's been written, or because the music sounds like it was really hard to play. People simply aren't interested in that stuff. They're interested in the elusive combination of a great melody and a lyric that they can relate to, and preferably sing along to.

Of course this isn't true of all genres of music, for the purposes of this piece I'm referring mainly to pop music, as this is the domain of the hit single! Yes there are lots of brilliant, intelligent musicians and songwriters out there whose music never isn't even near the radio and probably never will be. Whilst the music industry is partly responsible for this, it doesn't change the fact that (generally speaking) if you want to have a big song, you have to be able to connect with lots of people. And that means delivering a message that is clear, simple, catchy and easy to relate to.

This means thinking very carefully about what you're song is actually about. It can be so easy to get wrapped up in the details of the music itself, such as which chords to use? How the melody should go? How should the snare drum sound?) Sometimes the central concept of the song can often end up as an afterthought.

As a producer and songwriter I get to hear lot of demos from new artists, some of whom are quick to tell me very confidently which of their songs are the singles, or "radio friendly". More often than not, the song they point out is the one they've laboured over the most, or the song with the lyrics about their ex girlfriend / boyfriend. Sometimes this can mean their lyrics that are so personal to them that they're in danger of not meaning anything to anyone else! So it helps a lot if you are able to step back from your work and ask yourself - if I had never heard this song, what would I think about it? Do I know what it's about? More importantly, do I care what it's about?

Let's look at a couple of recent example of the smash hit song. Love him or hate him, James Blunt's "You're Beautiful" was undeniably one of the big pop songs of 2005, launching a multi-million selling worldwide career for the artist. Cynics will point out that there was a major label and some powerful marketing behind him, which is also true, but they were marketing something that was already going to be relatively easy to sell, because of the simplicity of the concept, the music and the lyrics. I don't think it's too unreasonable to suggest that without this song, the level of his success wouldn't been as great, and it certainly wouldn't have happened as quickly.

The sentiment behind Blunt's song is extremely simple. Perhaps this is why people connected with it? It's essentially a "grass is greener" song, where the main character is imagining a relationship with a stranger he's just encountered. It's also very memorable, even from a first listen. You may not know all the words to the verses straight away, but the chorus is instant. There is never a moment where you're not sure what the lyrics are because "you can't hear them properly".

Now imagine the same music, but with cryptic, clever lyrics that only you understand. Does the song still have the same ability to connect with a large audience? Or just to you? ( This can lead us into a whole other area - who are you writing music for, but that's another topic in itself! ) Now try it the other way around ; take the lyrics and sing them with a new melody over some complex chords in a clever time signature - is it still a hit? it's very unlikely!

In 2007, Rihanna's "Umbrella" had a similar impact on the world of pop. The song is built on an infectious beat and very few chords, and again there is a strong concept behind this song. If you look at the lyrics it's more than just another "I love you baby" type thing, but it also has the a very simple main hook, which hits you the first time you get to what I call the "pay off", the "ella - ella - ella - eh - eh - eh" bit, an infuriatingly catchy modern pop moment!

Would the song stand up without this hook / gimmick? Yes I think it would, because the gimmick sounds like an addition to the concept, not the concept itself. In other words "Umbrella" is already strong without it, but as a pop record this hook puts into a whole other league.

What I'm getting at here is the importance of considering exactly what it is you're are saying in your songs. It's not usually enough just to have a great beat or a great riff, try and think of these things are the starting point!

It's also important not to confuse "simple" ideas with "dumb" ideas. Writing complicated pop lyrics is relatively easy compared with writing good simple pop lyrics, and great lyricists will write on several levels providing you with deeper meanings if you want to look for them. This is a skill that is harder than it sounds and can take a long time to develop.

Early Motown records are a good example of this sort of thing, where the writers provided a catchy "surface" meaning that sounded like great pop music, but underneath there was often another motivation (sometimes with social or political overtones) Smokey Robinson and Marvin Gaye were among those who dabbled with this sort of writing, and were responsible for creating some staple pop hits that were accessible to everyone, but often had a second "layer" of meaning.

So you don't have to "dumb down" you're masterpiece to get your message across, just try disguising it a bit, you'll be adding depth to your work and you'll be in good company!

Of course the most important part in focusing on the concept of your song is having a concept to begin with. What do people want to hear about? Themes of love and loss are the most popular, anecdotes about feeding your cat will not grab people's attention the same way. If you spend a bit of time considering what you're actually saying, and how people will interpret your "message", you should be able give your work a better chance of connecting with your audience.

Instead of spending three hours on the snare drum, spend three hours on making your central idea something people can relate to, as generally people don't listen to songs because of how the drums sound! And you never know, you may even be giving yourself a greater chance at that world dominating chart-topping success in the process.....

The Roots of Nirvana

No band develops in a vacuum; every band starts out thinking, at least a bit, of other musicians that they want to take after or rebel against. But Nirvana was the first great band of actual music snobs: record fiends who wanted to make it very clear exactly what they listened to. They all loved Led Zep and Aerosmith and CCR and Black Sabbath and Kiss and then some more Led Zep on top of that. Mostly, though, Kurt Cobain and Krist Novoselic had grown up as Pacific Northwest punk rock kids. They hung out with the Melvins in Aberdeen, Washington, were required by circumstance to define their position with respect to K Records and the Olympia scene and carried Flipper and Bad Brains records like shields to ward off poseurs. (Dave Grohl had a roughly equivalent experience growing up in the DC area.) When they hit the big time, they covered their favorite bands, got them to open for Nirvana, wore their T-shirts every chance they got. Kurt even oversaw reissues of his beloved Raincoats' lost work.

In case there was any ambiguity left about who Nirvana considered their ancestors, it's all laid out in Kurt's Journals -- the scribblings of an inveterate listmaker who clearly loved even writing the names of his favorite records, like talismans of good luck and good punk rock karma. Certain discs turn up again and again in Kurt's pantheons of music: some are multiplatinum warhorses (Meet the Beatles, Aerosmith's Rocks), others are hopelessly obscure (Fang's Land Shark, the self-titled Tales of Terror album). Most of them, though, are remarkable American indie-rock and hardcore albums from the '80s, with a few artier European post-punk records and the inevitable Leadbelly album thrown in. They're worth investigating for anyone who loves Nirvana: these are not just the raw materials Cobain and Novoselic and Grohl transmuted into gold, they're what the band aspired to.

The Best Of Leadbelly
Artist: Lead Belly
Release Date: 2003

When Nirvana played their wrenching cover of Leadbelly's "Where Did You Sleep Last Night?" (a.k.a. "In the Pines") on MTV Unplugged, it looked like an unexpected gesture toward the blues blood that still courses so powerfully through rock's veins. Actually, though, Kurt doesn't seem to have been so into vintage blues in general -- he just loved Leadbelly obsessively (and had previously recorded four Leadbelly songs with Screaming Trees' Mark Lanegan). This collection is a solid introduction to the "King of the Twelve-String Guitar," a roaring ex-con who miraculously pulled joyful music out of his personal horrors.

Surfer Rosa / Come On Pilgrim
Artist: The Pixies
Release Date: 1988

Kurt called this 1988 album "a die-cast metal fossil from a spacecraft," and some of the Pixies' favorite tricks -- endlessly looping riffs that had never quite been used before, tense clean-toned verses that bloom into explosive, distorted choruses -- showed up on Nevermind a few years later. Steve Albini's drumstick-to-your-skull engineering work here pretty obviously inspired Nirvana to hire him for In Utero, too. But most of what Nirvana got from the Pixies was an attitude: the sense of being off-balance and screaming while keeping one foot in tightly controlled structure.

Over The Edge
Artist: Wipers
Release Date: 1983

Kurt's "Top 50" list ultimately included three albums by Portland, Oregon's Wipers: Is This Real?, Youth of America and 1983's Over the Edge. Singer-guitar monster Greg Sage's band was ferociously chugging and deeply into its own alienation -- and operated independently of the music-business machine -- years before anyone else in the Pacific Northwest caught on to their techniques. Nirvana and Hole both eventually covered Wipers songs; "So Young," from this album, could very easily be mistaken for a Cobain original.

Singles 1-12
Artist: Melvins
Release Date: 1997

If you were a punk rock kid in Aberdeen, Washington in the mid-'80s, the Melvins were IT: they spiked their hardcore with brutal metal, they could play scorchingly fast or tortuously slow, they got to play in Olympia and Seattle and their practice space was the locus of the local punk scene. They also had a knack for doing screwed-up things on their recordings, and the 1996 series of singles collected here is classic Melvins -- tributes to the Germs, Flipper and Butthole Surfers, corrosive audio experiments and straight-up blasts of the grunge style they helped to invent.

Jamboree
Artist: Beat Happening
Release Date: 1988

In some ways, Kurt never quite fit in with Olympia's K Records, their flagship band Beat Happening and the "love-rock" scene around them -- too much tummy-rubbing, not enough gut-punch -- but he loved it enough that he got the K logo tattooed on his left arm, and its fascination with childhood fed his own. 1988's Jamboree, evidently his favorite Beat Happening record, is half pastel nostalgia, half savage dread, a la-la pop album that collapses into a puddle of screeching noise at the end.

Bayou Country
Artist: Creedence Clearwater Revival
Release Date: 1969
Like a lot of other punk bands, Nirvana adored classic rock; unlike most of their peers, they embraced it -- one of Cobain and Novoselic's first attempts to play music together was a Creedence cover band. Kurt cited this 1969 album as a favorite of his, and you can hear a lot of John Fogerty's throaty bellow on "Born on the Bayou" in the way he taught himself to sing; you can also hear how Creedence's sturdy chording and simple melodies resurfaced in Nirvana's music. What Nirvana might also have picked up from Creedence, though, was the art of self-reinvention and presentation: remember, Fogerty's really a Cali kid, not a bayou native.

LiliPUT
Artist: Kleenex / LiliPUT
Release Date: 2003

"Anything by Kleenex" was the way Kurt usually put it on his lists of favorite records. The young Swiss women who recorded first as Kleenex and then as LiLiPUT between 1978 and 1983 had a garbled discography, and this compilation of everything by them didn't appear in the US until 2001. So start with their delirious, glorious singles "Split," "Ain't You" and "Eisiger Wind," full of shrieks and chirps, and powered by the rhythms of people who are determined to play their way and nobody else's.

Kill Rock Stars
Artist: Various Artists - Kill Rock Stars
Release Date: 2003

In the summer of 1991, Nirvana were just another well-loved Washington band, and the other bands compiled here -- on the anthology that launched the label of the same name -- were their contemporaries and scenemates: their old pals the Melvins, Bikini Kill (featuring Kurt's ex-girlfriend Tobi Vail), label owner Slim Moon's band Witchypoo, Steve Fisk (who'd recorded the Blew EP), Heavens to Betsy (with a very young Corin Tucker, later of Sleater-Kinney) and a duo of Lois Maffeo and Pat Maley that went by the name of Courtney Love -- no relation... or almost none.

Extended Play
Artist: The Raincoats
Release Date: 1995

In the liner notes of Incesticide, Kurt told the story of how he'd tracked down "that wonderfully classic scripture," the Raincoats' 1979 debut album, in England. Songwriters Ana da Silva and Gina Birch reformed the group in 1994 to open for Nirvana on the tour that never happened. They did, however, tour America, and recorded this EP for a BBC radio session: two new songs and two early favorites, performed with the sure-footed power and fresh-minded re-conception of the proper language, subject and sound for pop songs that had drawn Cobain to them in the first place.

Guitar Lesson - How To Practice In 20 Minutes

Many guitarists don't have enough time to practice for long periods of time. But if you want to progress fast, you need the guitar in your hands as regularly as possible.

It's better to practice for 10-20 minutes every day, than 4 hours on just one day of the week.Getting into a rhythm of regularly picking up your guitar for a quick practice session is a great habit to get into.

So if you don't have enough time for a full practice session, and you have 10-15 minutes to spare, here's some ideas for what you should practice:

Practice a chord change.
Perhaps switching from an F barre chord to a D open is causing you difficulty?
If you spend just ten minutes going over and over the change, you will increase your ability to do it at the level you require.

The key is to focus, and hone in on one skill that you can improve in a short period of time.

Work on a song you want to memorize.
This will give you a chance to actually play some music! You need to have fun in your practice to keep you fresh and focused.

Listen to a song on a CD and jam along.
This is a great way to improve your playing, and it's particularly suitable for short practice sessions.

An important part of learning guitar is to train your ear, and jamming along to a CD is the perfect way to do it.

Work on a lick you want to learn.
You'd be surprised how many times you can work through a lick in just a few short minutes. You can also combine this practice technique with practicing chord changes.

This will improve your skills in a short period of time.

Work on picking skills - do drills up and down the neck.
You can use your metronome to work on speed picking skills, or you can slow everything right down and work on keeping your body in a relaxed so that you develop an ease to your playing.<

Work up and down a scale.
In ten minutes you can play through a scale around 50-100 times. This will improve your stamina and also help you build speed.

Remember to use a metronome when you're trying to build speed though. Because you want a smooth rhythmic sound to your speed picking, not a struggling, hurried sound.

So build up gradually.

Be Creative!
Play some chords in combinations that sound good to you, or play some single note melodies. Again, this improves your ear and you could maybe work out some parts to a song of your own.

Okay, that's all the ideas I'm going to give you for now. Use your imagination to come up with more things you could try, and mix it up so it doesn't get boring.

Also, keep your guitar ready and set-up. Sure, it's protected all hidden away in your case, but if it's ready for you to have a short practice session, then you're more likely to pick it up and practice, even if it is just for a short time.

So keep that guitar out and ready to practice!

You may not think these short practice sessions help much, but doing this builds up your skills fast – and you'll surprise yourself by how much you improve just be having the guitar in your hands regularly.

However, you don't want to solely rely on these quick practice sessions. Like most things, you need to strike a balance. A good way of finding that balance is to set a routine.

When you have a routine, you will find it gets easier to find the time for practice. Once you're in a habit of practicing regularly, you'll find it harder to break out of, and that's a good habit to have!