The Troy Stetina Series is the most popular rock and metal guitar instruction in the world! This FAQ page answers many common questions about these methods and his approach.
1. A word from Troy on teaching philosophy and his methods generally
"If I had to say it in a single sentence, my teaching philosophy boils down to this: All that really matters is the sound and attitude that comes out of your speaker cabinet. Getting control over that is what it's all about. So my methods are practical systems to master music, from beginner all the way up to professional musician and even beyond to full mastery.
"The core methods gradually rise to higher and higher levels of technique--and I mean the real thing, what performers in these styles are really doing--and to get there as fast as possible, without any extraneous stuff "in the way". I believe that if you focus just on what you need to accomplish, you can achieve those goals more quickly. So I packed the methods with everything necessary to play well and understand the style, and omitted what is not.
"They are a bit fast-paced, even ambitious, which, I suppose, is a reflection of my own aspiration. But in my experience, most of you out there don't want to be coddled. You're saying, in essence, 'Don’t hold back! Show me what I need to learn, and I’ll handle it.' Well alrighty then... Let's do this! Hundreds of thousands of players have risen to professional competency and beyond using these methods, and you can too.
"I've included a good amount of musical application in these books so you can see and hear just how the material is relevant as well as to get it fun and interesting--even inspiring. Yet at the same time you are constantly building the underlying foundation you need for full proficiency as a musician. It will look like this: First we'll cover some concepts or techniques and apply them in some short examples (riffs, licks, exercises, or whatever). Then we'll grab a handful of these and mix them into a full musical study--a song or solo with play-along backing tracks. Each study functions to solidify the techniques, because the following section will build upon them.
"These methods will speed up your progress as a guitarist and guide you toward mastery. Keep in mind there is lot of material here; years of material. It all adds up to a detailed roadmap to achieve excellence. Whether you take it a little way, or all the way, is up to you. The question is, how good do you want to be? Thanks for checking out this series, and good luck!"
2. I'm a beginner. Where should I start?
Start with Metal Rhythm Guitar Volume 1. Regardless of exactly what style of rock and/or metal you're into, those books cover a wide range to give you a good overview along with a solid foundation in groove, chording and rhythm techniques.
Around the time you are ready to begin Metal Rhythm Guitar 2, you can also pick up Metal Lead Guitar Primer and begin working in that, too, splitting your time between practicing rhythm and lead. Depending on your interests, you might also consider picking up Total Rock Guitar at that point, or maybe a Signature Licks book/audio of an artist you really enjoy.
But be careful with the Signature Licks books; you don't want to dive quickly into highly advanced material or you will hit a brick wall and get discouraged. You want to build your technique to within striking distance of whatever songs and solos you are keen to learn. So if we're talking about music like Foo Fighters or Rage Against the Machine, fine. Jump in as an intermediate player. But Yngwie Malmsteen and Dream Theater should probably wait until you finish Metal Lead Guitar 2 and begin working through Speed Mechanics.
3. Should I learn rhythm guitar first, before I learn lead guitar?
Common wisdom is to learn rhythm guitar first, because it is easier; then progress to lead, which is harder. And while there is some truth to this idea, it's not strictly correct. We can find some very challenging rhythm parts, and some very easy lead lines. So rhythm isn't always easier.
Let's nuance the conventional wisdom, then: The important thing isn't whether a technique is classified as "rhythm" or "lead," but that its level of challenge is appropriate for you. You want to be working on material that is at or just slightly above your current level. Trying to tackle things that are too far over your head will cause your improvement will stall. You'll get frustrated and wonder if you have what it takes to play well. And conversely, if the material is too easy, it can get boring... been there, done that. You'll wonder if you're really going to get where you want to be?
Well, I've taken care of the challenge level issue by arranging these methods in a gradually building system. All you need to do is take it one page at a time, whether it's rhythm, lead, or both, and the level will slowly rise as your technique is built to higher and higher levels. So you can in fact learn rhythm guitar and lead guitar at the same time.
Rhythm and lead are really just two sides of the same coin; it's all guitar playing. In fact, sometimes it's hard to draw a line between the two because the terms arise from compositional function, not technique per se. In any case, each area affects the other. Your just playing doesn't improve in neat little bundles: "Now I have this rhythm thing mastered, so I can move on to that lead skill." No, your improvement is holistic and the skills overlap. Better rhythm skills improve your lead playing, and better lead skills improve your rhythm playing. Again, both areas can and really should be developed together.
However, I will recommend that you give yourself a little head start on rhythm guitar because as a whole, rhythm guitar is a little easier than lead guitar as a whole. That's why I said up front that there is some truth to the common wisdom. So if you're a beginner, start with Metal Rhythm Guitar 1. Then, only when you are ready to graduate into book 2, also add Metal Lead Primer and move through both the Metal Rhythm Guitar 2 and the Metal Lead Primer simultaneously.
In the end it's rhythm guitar that turns out to be more vitally important than lead, and more difficult in a way; timing is so critical to quality performance and yet less obvious to the player. So a common pattern that emerges goes like this: A person starts out learning rhythm guitar because it's "easier," then progresses on to lead. But when they get far enough, they realize they missed the boat on rhythm and never really learned to play it well, so they come back full circle and now, with a higher standard of groove in mind, they learn to be a good rhythm player. How much better it is to go through the Metal Rhythm Guitar method correctly the first time though and build solid groove in the first place! Then all your lead skills are built on solid ground instead of shifting sand.
4. In what sequence should I tackle your books?
For Beginners: Start with Metal Rhythm Guitar 1. Then, when you are ready to move into Metal Rhythm Guitar 2, also add Metal Lead Primer and work through both the rhythm and lead books together. After you finish the Primer and Rhythm 2, you are ready for Metal Lead Guitar 1. At this point, you can also continue to hone your rhythm skills with Total Rock Guitar and/or Thrash Guitar, or both, depending on your interests. The more advanced books like Speed Mechanics for Lead Guitar and Fretboard Mastery as well as the Sound and Story DVD should wait until you have completed Metal Lead Gutiar 1 and are in Metal Lead Guitar 2.
For Intermediate-Level Players: Start with Metal Rhythm Guitar 1 and Metal Lead Primer at the same time, or if you are an advanced intermediate player, you might even skip the Primer altogether and start directly into Metal Lead Guitar 1. Why go through the Rhythm 1 book, you might ask, if you can already play songs decently? Well, there are some aspects of timing and groove that most intermediate players overlook, and failing to get on the same page in this regard will usually wind up cramping your progress later. So while I'd expect you to move quickly through Metal Rhythm Guitar 1 and 2, it's still a good idea to nail everything there down solidly. Also, about the time you are finishing Metal Lead Guitar 1, start Speed Mechanics for Lead Guitar, and/or Fretboard Mastery. Additional supplemental materials might be the Sound and Story DVD and/or the Goldmine 200 Rock Licks DVD if you like the video learning format. The Signature Licks books are another great supplement as well. If you want some handy reference books on scales and chords, try the Ultimate Scale and Barre Chords pocket guides.
For Experienced Players: Follow your instincts, and just add those methods that seem relevant to your interests. The order, then, is irrelevant. Metal Lead Guitar 2 will challenge most experienced players, so you might want to look at that. But of course, the main dish will be Speed Mechanics for the physical aspects of playing technique and Fretboard Mastery for understanding the fretboard, ear training, and learning how music really works. The Sound and Story DVD is another advanced method, and of course, I can't say enough good things about the Signature Licks approach if you want to gain some real insight into different players' styles.
5. Should I find a teacher or are these methods self-study?
These methods are designed as self-teaching guides. The explanations and demonstrations reveal what each example should look and sound like.
That being said, however, there is no substitute for the eyes and ears of a more experienced player to oversee what you are doing. This is because as you play, your attention is inevitably drawn away from listening and watching what you are doing, as it becomes consumed in the doing of it. You will fail to notice small (or even large) errors you are making. And that means you will be engraining some bad habits, and wasting valuable time.
In live masterclass workshops, I often get players to improve noticeably on their technique in just a matter of just a few minutes; and this is on things they have been struggling with for months or even years! How is that possible? Because I can see where they need to guide their attention. Improvement is about noticing the right things. Everything comes down to fundamentals. Get all the fundamentals right, and everything works!
It is strange to me that so many guitarists will spend thousand of dollars on guitars, gear, pedals, etc., but they won't spend nearly as much, or sometimes even nothing at all, on a good instructor to actually learn to play well! Seeking out expert advice should be first on your list of expenditures--if you actually want to be a good, proficient, professional-level, or perhaps a mastery-level player.
So the full answer to the question above, then, is that while these methods are created as stand-alone, self-study learning guides, you will do better with qualified assistance. Of course, if you are satisfied with the results on your own, that's great! But my guess is that your progress would be even better with a good teacher. Of course this is especially true early on. As you gain higher levels of proficiency, you become a bit more independent. But even advanced players will benefit by an advanced, outside perspective.
BTW, in case you are wondering, I am available for private online video lessons. But my rates are pretty high and I'm not keen on teaching beginners. If you are a beginner, there are plenty of qualified teachers that can help you out for less. Besides, the video format isn't very effective for beginners; you are better off being in the same room as the teacher to allows easier, more direct, and faster correction. I teach serious-minded intermediate and advanced players who have already gone through some of my methods and need answers to the higher-level questions that inevitably arise, or more specific contextual answers and guidance. Often these sessions take the form of a "one off" assessment and direction lesson to address a particular problem or barrier. Or lessons may be continued on a monthly basis. I believe in arranging for whatever is most helpful. Anyway, if that is something that interests you, contact me for more information.
6. How should I be using these methods in my practice routine?
A lot of players just learn to play songs of the artists they like. And that's works to a degree; it's great on the inspiration side of things, if you have enough technique to get there. But learning songs, as important as it is, doesn't teach you to be a musician and it's not the best way to build technique. It just fails to develop any of the "connecting fabric" of the knowledge of music and it allows many important fundamentals to remain weak. So if all you ever learn is how to play songs and solos, it limits you in a big way. This approach represents one extreme.
To be a great player, you need strong fundamentals and, ideally, a good understanding of how music really works. The fundamentals are developed in the core Metal Rhythm Guitar and Metal Lead Guitar methods. They appear as "threads" that run the course of each method, first expressed in a sort of "embryonic form" and later expanded upon. I don't necessarily explain these threads; they are woven into the fabric of the method itself, so they are largely hidden.
But just working on fundamentals directly and conceptual knowledge without enough music, without enough inspiration, makes everything begin to seem dry and boring after a while. It misses the point! Inspiration comes in the artistic application of such things. So my methods present these things in a balance--concept/theory/fundamentals on the one hand, and application/inspiration/music on the other hand. As a result, all you have to do is move through them one page at a time and a balance of sorts is maintained. This, more than anything else, is I think why these methods have worked so well for so many players over so many years.
Now, with that background understanding, let's consider the issue of practice routine. If you are a beginner, your practice time might look something like this:
For beginners: Learn a few examples out of the book you are working in, and repeat them until you've got it down without errors. Start slow. If you are using Metal Rhythm 1 and Metal Lead Primer together, you might learn a half page of material out of one book and then skip over and learn a half page out of the other. Each day, repeat those examples to insure you get them more solidly, and also add a new example or two. As you add new examples, lay off of those earlier examples with which you are comfortable. But each day, as a quick warm up, review a few random examples from the past. For the first three or four chapters, you will be spending 100% of your practice time in the books. But after a bit, gradually begin finding outside songs to learn that use similar techniques.
As your technique level rises, you should begin to incorporate more and more supplemental material, including songs and solos by the artists you enjoy. Variety is the spice of life! Just don't get so scattered that you fail to come back and finish the methods! Exactly what books you choose and how to integrate them into your practice depends on your level and your interests.
Overall, learn to keep an eye on yourself as you practice, noticing what bores you and what really inspires you. Common sense, really. And remember that inspiration always takes precedence over discipline. I remember once a friend said to me, "I just wish I had your discipline to practice that much." But he was looking at it all wrong. I loved playing music and I loved seeing my own process of improvement. So it wasn't a matter of discipline, it inspiration he was seeing. For me, discipline came later in the form of writing books; that wasn't what I ever really wanted to do! So follow your interests. We like to indulge our own sick preferences... that’s why we're musicians!
For more specific advance on practice routines, see the Practice Tips and Advice section.
7. What about reading staff notation? Is it necessary? Is it useful?
All forms of rock and metal are riff-based, pattern-oriented playing styles. Therefore, the ability to read standard music notation ("staff") is a non-essential. If you purists want to object here, let me point out that most of the musicians who are creating the music that you want to learn probably do not even know how to read the staff--and the few that do, only do because they learned it somewhere along the way, but they aren't currently using that ability in the creation, production or execution of their music. It's a non issue.
Now I'm not saying that learning to read staff is a bad idea... I read it myself. I'm only saying that if your goal is to play, write, record, or perform rock and/or metal guitar, it's not essential. Sure it can offer some benefits, which I'll cover in a moment, but they are indirect and largely irrelevant to our stated goal here.
Tablature (or TAB) is an alternate method of reading music by indicating fret numbers and strings -- tailor made for fretted instruments like the guitar -- and this is much easier and faster to learn. Is it any wonder more than 95% of guitar players just read the tab? Tablature, however, has a significant drawback: It is often presented with no rhythmic (timing) information. And timing is half of the musical equation! So those tabs you found on the internet are probably not only wrong, but at best they are only half right!
So many books use a "double" staff-with-tab system to include both. This is one way of making sure the rhythmic information is conveyed, as well as the tab numbering to cover pitch. Some of my books use this system, too. However, the core Troy Stetina Series methods cut right to the chase and omit the staff entirely, fusing the rhythm information onto the tab fret numbers.
There are two big benefits to this: 1) The notation takes only half as much space in the book, which means I can pack roughly twice as much music into the methods. Also, and perhaps even more important, 2) I don't have to teach you how to read the staff within the methods. And that means we focus directly and exclusively on just what IS crucial to this style.
Now let me say that if you are interested in jazz or classical guitar, reading the staff notation is essential. It may also be helpful if you aspire to being a session player and getting a wide variety of studio work in different situations. And if you want to take your guitar playing skills as far as possible, certainly reading music is something that you'll want to learn how to do. I use the staff in advanced books like Fretboard Mastery, as it enables certain musical concepts to be expressed more clearly and easily. So if you do go that far, certainly get yourself a sight-reading book and work on that skill in the background at the same time that you are developing all the necessary playing skills and conceptual understandings here.
In any case, you certainly don't need to be a good sight-reader to rock.
BTW, I've been told that the tab-with-rhythm notation I opted to create in the original methods was a revolutionary and gutsy break from the status quo method approach of the 1980s. But now, 35 years after my first methods were published, it's become a new "standard" to some degree; certainly it has become acceptable. But it never seemed a risky idea to me; it was logical. I wanted to get right to the good stuff, the essential stuff, and to get there as fast as possible. Other methods can teach Mary Had a Little Lamb melodies; if that's what you want, go for it! But if you want to rock, this is a better way. It's the way that has worked for hundreds of thousands of musicians, and it will work for you, too!
8. How long does it take to get through these methods?
How long it takes you to get through these methods depends on your playing experience, the amount of time you practice, and how effectively you use that time. But generally speaking, don't expect to fly through them. Other instructional methods are thin, designed with easy pacing to give you a sense of progress. But I go for the opposite approach. I pack in a deceptively large amount of material, which means it will take longer (or last longer, if you prefer). The good news is that what you are learning is substantial. So estimate 4 to 12 months of diligent, consistent practice to really get down the material in each Volume 1 of the Metal Rhythm and Metal Lead methods.
If you are coming into it with more playing experience, you will cruise through them faster; if you are starting from scratch, maybe slower. But don't worry how long it will take. The important issue is what you learn, how well you learn it, and how good you sound. Never worry about what yet remains, but instead focus on what you are getting out of these book, and how much better you are playing now that last month or last year.
If you are practicing effectively, you can be sure that you are progressing as fast as possible. So make sure you read and apply the Practice Tips as well as possibly seek out the help of a good and capable teacher who understands this material. (See "5. Should I find a teacher or are these methods self-study?")
For the Volume 2 books of both Metal Rhythm and Metal Lead, you're pushing toward a professional playing level. Figure on the better part of a year or so to complete them. I know that sounds like a long time, but you'll be steadily improving all the while, so it'll be something you're having fun with, not a grind that you're just waiting to end.
Some books like Metal Guitar Tricks or Thrash Guitar will go a little quicker. Maybe a couple months for them. But on the other hand a book like Speed Mechanics for Lead Guitar or Fretboard Mastery can be useful for a lifetime.
9. Do I need to master everything in this series to be a "good" player?
This is a surprisingly common question that I am asked. Let me address it this way:
For many years my own goal as a guitarist was complete mastery of the instrument. I put what I had learned into these books to share as much as I possibly could. In some cases, they raised the bar quite high -- especially a book like Speed Mechanics for Lead Guitar. But the "standard" they set is not the norm in guitar education. If you master everything here, you'll be an exceptional player, not merely a competent one. So do you need to master everything? Well, how good do you want to be?
Different techniques are vehicles for different forms of musical expression. That is to say, technique is to a large degree style-specific. For example, Stanley Jordan’s jazz-based, two-handed tapping technique is worlds away from Kurt Cobain’s guitar work in "Smells Like Teen Spirit." But I, for one, like them both. They are both perfect expressions of what they are intended to be. So do you have to learn Stanley Jordan's two-handed, jazz techniques... or Satriani's pitch axis techniques... or Dimebag's picking technique... the list could go on and on forever. Where do you stop?
In the end, the real goal of all this is simply to be able to play and create the music that inspires you. The choice is yours. Only you know what you like, and what you want to become. The music that turns you on may require just a little technique, or a lot. Now in the metal guitar methods, I’ve laid out a system whereby you can learn what goes on in the world of rock and metal guitar. In Speed Mechanics, I took it further and laid out a format to develop the kind of technique where you can literally play anything you want, as fast as you want. The "shredders Bible" I've heard it called. But you, ultimately, pick your own destination. And your goals don’t have to be my goals.
My advice to you is to consider everything that you learn -- from my books and elsewhere -- as a ‘palette’ from which you will assemble the skills for your technique. When this allows you to express the kind of music you feel in your heart, exactly the way you want, then I’d say you have succeeded, whether you are playing punk rock or some kind of virtuosic fusion.
In fact, I suspect that most people who are wondering about this question are really just trying to get a grip on how to view themselves. Am I good enough? Can I consider myself a good player yet? I’d say, stop comparing and trust your inspiration. Why is the "self rating" system necessary? That may be a better question. I mean, how many people have to regard you as "good" before you believe it? One? Ten? A hundred? A million? There is no dividing line. It's imaginary. And it's actually kind of dangerous to put your view of yourself into the hands of others, isn't it? Why would you do that?
So... do you need to master all these skills to consider yourself a good guitarist? The answer, in the immortal words of Austin Powers, is a big, phat, resounding "NO! You crazy Dutch bastard!"
10. Which is better, a DVD (video) or a book/CD?
A book/CD (now book/audio) format offers a lot more information than a DVD (video), simply because of its format. Pages are far more "information-dense," as well as tend to be somewhat more organized than a live video. So book/audio is better, right?
Well, a video offers you an opportunity to actually see the techniques demonstrated and the music performed right in front of you. That’s something a book just can’t do, no matter how good it is. And for people that have difficulty learning out of books, watching things done is a whole lot easier and far more immediate.
So it's not an issue of better or worse, it's just a different thing. Each format has is strengths and drawbacks. If you can only afford one, I’d suggest a book/audio because it will give you the most information for your money. But if you can also get a video to use in conjunction with the book, that's even better.
But okay... what if, say, you started with the book/audio pack Metal Lead Guitar Volume 1 and then where trying to decide, "should I get Speed Mechanics, Fretboard Mastery, or the Sound and the Story?" The answer is yes, of course ;)
Seriously, though, if you can only get one thing, get the book/audio. Then supplement with a video if possible. Or another book... After all, two books are better than one. For that matter, three books are better than two! Hell, just buy 'em all! And for all you cynics out there who just saw this as a thinly-veiled attempt on my part to sell more books, why, it’s not that at all, really. For THAT, I will shamelessly recommend that every person buy at least six copies of each book and video -- one set to use, two sets as backups just in case you lose the first set, and three more sets to give away to your friends.
11. Many of the "greats" were self-taught. Do I really need any books?
Nope... If you're a unique talent, and creative enough, I'm sure you'll do just fine. Many successful musicians never studied "formally". On the other hand, many have. I would just say that it makes sense to avail yourself of all the tools at your disposal, to help you improve fastest. I mean, why waste time? Why re-invent the wheel? These methods work... I've gotten thousands of letters and emails over the years like this. They'll work for you too.
Years ago, I took a few private lessons from this fusion player. I think he felt kind of guilty, like he wasn’t able to show me enough to justify what I was paying him, since I already knew a fair amount and had pretty good technique and speed. But I didn’t see it like that. To me, just one important insight or approach was more than worth the price of the lesson. It would be something I could latch onto and use for the rest of my life! It affected everything else that followed. I was just grateful that someone "up there," who knew more than I did, would even sit down and show me some of the wisdom he had acquired through experience. After all, I had spent so many hours learning things by ear with no help whatsoever, so I really came to appreciate someone handing it over to me on a big, fat, silver platter. All I had to do was reach out and take it... after I came up with a little cash, of course.
So do whatever you think is best. But let me tell you, I’d sure have loved to get my hands on a real metal guitar method back then. It was Mel Bay and Alfred’s book 1, rockin’ with tunz like "Buffalo Gals". Accurate transcriptions of rock songs? Are you crazy? No such thing existed. My first Kiss sheet music was arranged for piano, with little chord charts over each measure, and all of them wrong. No tablature. Yeah, it was tough. We had it bad. And we walked 5 miles to school every day, and lived in a one-room shack. And every night our fathers would kill us and then dance about on our graves singing Hallelujah! Yeah... consider yourselves lucky.
12. My son/daughter wants to play guitar. What ages are appropriate for these methods?
Typically, I'd say around the ago of 10 or more could jump into Metal Rhythm Guitar Vol 1, although 14+ is probably more ideal. Younger players may have trouble with the faster pacing, unless they are learning under the guidance of a teacher who could incorporate other materials when they hit road blocks.
Any younger than 10, and you'd be better off with a methods designed exclusively for kids. Of course, there are always exceptions. Some kids are 'born older'. And quite a few are picking up the guitar younger and younger these days.
On the high end, I can't imagine folks over 80 jammin' out on Metal Rhythm Guitar 1, but I'm sure it will happen some day! Right on. Mark my words, in a few years Metallica will be playing in the nursing homes!
13. I'm old! Is it too late for me to start?
How can it ever be too late to start doing something that you enjoy? Maybe it’s too late not to start!
In any case, you don’t have to start playing guitar at a young age to become a proficient player. Of course, it helps. But I’ve seen people start in their mid 20s, and in just a year or two get right into it. And I've seen people in their 40s, 50s and 60s who just dabbled with the instrument achieve significant technique in a relatively short time. It's all about focus and efficiency.
Adults can generally focus better and for longer periods of time. They also generally improve faster because even though they haven't been playing guitar, they've done other things that have developed coordination. And they tend to have a generally better sense of rhythm and timing. Maybe you haven’t been playing guitar much or at all, but you have been listening to music and moving! It's a coordination thing.
Now does it really matter whether you can be the next Joe Satriani or Buckethead? Certainly you can become good enough on the instrument to play well and enjoy it. And isn't that an end in itself?
Actually the level of technique required to play most guitar parts is actually quite low. I’ll bet you can find music that you like--even if it's not shred guitar. So don’t worry about how technically proficient you’re going to become. Just focus on today, and get a little better today. And after a long string of such "todays," you'll be surprised how far you've come!
14. What happened to the original "Heavy Metal Guitar" series with the red star guitar on the cover?
The original Heavy Metal Rhythm Guitar Vol 1 & 2 and Heavy Metal Lead Guitar Vol 1 & 2 (with cassettes!) were first published in the late 1980s. These books are now out of print and have been replaced with the updated 'Metal Rhythm Guitar' and 'Metal Lead Guitar' methods in the 1990s. Strangely, they are still quite relevant today. I guess it's because the fundamentals haven't changed, and the music in them is still good.
In any case, the updated Metal Rhythm Guitar was completely revised and greatly improved. It now covers the wider range of hard rock and metal styles that had developed in the 15 years previous, and features 12 full songs.
The updated Metal Lead Guitar has also been re-written from the standpoint of text, so the explanations are clarified and expanded, but the music is all still exactly the same! Lead playing just hasn't really changed all that much (apart from disappearing for a while, when grunge happened).
And of course the new covers rock. Who is that bad-ass MF, anyway?!? Oh sh*t, that's me!
15. Some of the books are Out of Print. Can I still get them?
You might find an old used copy on eBay, but I don't have any.
When the publisher can't sell enough copies to keep a book in print, it goes out of print and becomes unavailable. Thank each and every pirate downloading and peer to peer sharing site for making it unprofitable to keep books in print.
BTW, on a related note, I'd also like to thank each and every one of you that have purchased my books over the years and thereby supported me. You are the folks that have enabled me to continue creating music and instruction products.
In the interest of full transparency, let me also share with you the fact that success in the field of music education has only ever provided a moderate income. People seem to confuse "famous" with "rich." Well, yes, my work is well known and used all around the world. But most of it I'm not paid for, and so I live modestly by American standards. This is not unusual. Choosing to be a musician generally entails sacrifice of one form or another and mine is no exception, despite some level of success. So again, let me stress that your support is appreciated greatly and I hope to be able to help each and every one of you reach and even exceed your musical goals.
All the best, and good luck with your playing!