Morten, first of all, I wish to thank you for having the unnsdetadring that despite your overwhelming talent, you realize that beneath all musical successes there is, in addition to lots of hard work required, a very real need for business sense to wend it’s way into a long term career in any art, music not excluded.So who do you ask for advice?  Not everyone; anyone who has already shown an awareness of your playing.  Feedback from customers, an excellent small business technique.I cannot speak exactly to the days on which lessons are given, that is essentially up to your schedule and availability.  As to times of lessons, however .I would take a look at the geographic location of your current enrollment.  Which countries have you yet to make inroads?  I would take a look at an area where you believe your musical style would fit, South America, for example.  Big jazz lovers, rock players, proud purveyors of their countries musical styles.  I would then give lessons at around 8 00 pm their time for the experienced classes, 4 00 pm for beginners, 6 00 pm for intermediate.Of course, you may have a ton of students already in Argentina.  That was for example, only.  You may be lacking exposure in Australia.  Adjust accordingly.Me, I think Clapton is too overrated.  I would eliminate him from your curriculum.I would add Tommy Emmanuel / Chet Atkins for finger pickers.  They, and their influences / acolytes are die hard players, and are excellent students.  Their solo approach lends to constant practice and application.  The level of difficulty ranges from EASY to VERY ADVANCED, so no lack of material there.Clapton should be replaced by Jeff Beck.  The trio work Beck is still doing, live and in small venues is brilliant.  And has guest stars.  You can imagine who he surprises people with.  See YouTube.I think you should add more harmony, song structure, theory and ear training at various levels, as well as tips for advanced transcribing.  I still need help with Coleman Hawkins phrasing, and Bird and Trane.And add PIANO work.  You play keys, a nice guitar transcription of Errol Garner playing Misty is a tour de force of harmony and chord melody.  THAT is sadly overlooked.  People think jazz is dead.  I think it is only enjoying a well deserved nap.Intermediate rock / blues should have Hendrix, SRV, early Allmans to US players.A Zeppelin / Queen / Yes salute to British fans.  All still have a die hard following and insight to tone, playing technique and soloing will be universal.Playing with a capo, open tunings isn’t just for beginners.  My current favorite is Merel van Hoek, a self taught 17 year old.  Sometimes she uses an open tuning with a capo on only 4 of the 6 strings   lowest four   using the upper two OPEN, for the middle section only, acting as a key change at that time.She is, BTW, an Emmanuel acolyte.Sco is a good choice, as he is not as well known   playing wise, not studied enough   but I think Holdsworth from UK / Metal Fatigue era, Stern’s rhythm and compositional structure, Conners modal and tonality work and John McLaughlin’s more accessible Eastern influenced improvs as a Master Class is too often overlooked by teachers.A SUPER Master Class on Egberto Gismonti would be a full education by itself.Add in some Steve Morse and Steely Dan to an intermediate song forms class .Aren’t you glad you asked !!?