Yes, this is a self-paced course. I wanted to make sure that you could follow this program through at your own pace, and take as long as you need to with each module.

As much time as you need. As a self-paced course, I don’t like to set a “timeline” of how you should complete it. Some things you may find very easy, and speed through quickly; other things you may find more challenging and want to take more time over.

So the answer is: as much time as you need. And in a way, this is a blessing. We’ve had some people get through the program in a matter of weeks. Others prefer to take their time. Some complete a few modules, and then take a break to work on other projects, before coming back to finish the program. They still get great results.

The point is: this isn’t supposed to be a quick cut-and-dry thing to speed through - though you can do that if you prefer. These are skills which last a lifetime. So take as long (or as short) as you need with it, and come back whenever you like.

If you enrol now, you will have “lifetime” access – so if you wanted to enrol now, and then start working on the course a few months from now, that would absolutely be possible.  

In our Case Studies, Michael kindly said that “All levels really does mean all levels”. The exercises start out with the very basics of rhythm and pitch, before progressing in challenge to a university level. 

If your ears, reading, and music theory are already super sharp, you probably don't need this.

If you feel like you need work on any of those skills, then this course can definitely help you.

HOWEVER – if you are absolutely tone deaf, or unmusical, unable to carry a tune, unable to reproduce a pitch that someone else plays, unable to recognise what octaves are, unable to stay in time with a simple beat, then this program isn’t for you. Sorry. To get the most out of this program, you need to be able to self-correct, and hear when you've made mistakes. I’ve designed exercises to make that process easy, but if you’re totally unmusical then this course won’t be appropriate for you.

Yes – there is a 30-day satisfaction guarantee. I wanted to make sure this program was a good fit for you. If you decide that it isn’t, you can write to me within 30 days of purchase, and I will gladly refund 100% of your money – no hassles, no hard feelings.

Most courses and books teach you theory, but don’t train you. This program’s primary focus is on training you – making sure that you internalise everything that you learn. You’ll learn a piece of theory, and then immediately develop your reading, writing, and listening skills, so that that piece of theory sinks in deep. That’s how you truly become a better musician.

Also, I’ve designed this as a holistic system. It will guide you every step of the way, through a wide variety of different exercises, to make sure that you’re developing your musicianship from every angle. This holistic process is easy to follow – you simply go through the program, one step at a time, and will be guided in what to do next, every step of the way.

When designing the course, I referred to the UK’s traditional ABRSM Music Theory exams, and discovered that this Musicality Program comfortably covers all music theory from ABRSM Grades 1-8, and even goes well beyond ABRSM in several areas.

The only aspect that the Musicality Program does not cover, which ABRSM does, is learning how to compose music in different styles. I decided that that specific skillset was beyond the core mission of this program, which is to develop rock-solid musicianship skills.

There are also several elements of theory and musicianship taught by the Musicality Program which are not featured in traditional theory boards, such as score-reading progressions, transcribing music in multiple parts, and more.

Moreover, this course also gives you the opportunity to regularly TRAIN these skills with sight-reading exercises, ear tests, and writing/composing challenges – all designed to make you a better musician, on a practical level.

When I surveyed my audience, 90% said they had access to a piano or keyboard. So, I included some optional exercises to try out on your piano or instrument. These exercises are optional – they will help you to apply what you’re learning to an instrument. However, they are not essential to the course.

If you have an instrument, or ideally a keyboard available, then I recommend that you do these exercises. But if you don’t, then don’t worry. These Instrument exercises are additional, bonus exercises, and not essential to the backbone of the course.

Bernstein was a terrible singer! But you can bet he could hear the notes in his head. You might not have the best voice - but I encourage you to sing the “singing exercises” anyway. As long as you can hear what note it’s supposed to be, even if your voice can’t perfectly replicate that, then you’re doing the exercise. Singing the exercises forces you to use your brain – it’s not just a matter of “pushing buttons” to find the right note. You actually have to think about the relationship between each note on the page, and then reproduce that with your body. In that sense, singing makes the learning process concrete - it turns what you hear in your head, into some kind of reality, and so it’s a powerful tool.

Having said that, if you’re truly dreadful at singing, then that’s okay! We all have different bodies. And so I’ve created alternative ways of completing the exercises, which still use your brain but don’t involve you making sound.  

Let me speak from personal experience. These skills have definitely helped me progress myself in music. They won't automatically give you a career, but they will help you to become an all-round better musician. 

When you’re auditioning for professional choirs or orchestras, one of the most important things they check is how well you can sight-read music. In some circumstances, sight-reading can be so important that I’ve known people to hire great sight-readers, even if they’re not the best players. Good sight-reading can be a depressingly rare skill in some places, so being a strong reader can really set you apart from the crowd. I have been offered many paid jobs where I turn up on the day of performance, read the music once, perform, and get paid. This simply wouldn’t be possible if I couldn’t read music.

Similarly, I’ve found ear skills and reading skills to be absolutely essential when directing choirs and orchestras. Without these skills, I simply couldn’t have landed jobs directing groups around New England.  

And in the same way, a strong knowledge of music theory enables me to write music very quickly. I’ve been called up last minute to work on short films and film festivals – and having a strong grounding in music theory meant that I was able to write music fast, without too much sweat.

These skills have helped me personally to develop my career, and they've given me the confidence to keep moving forwards and exploring new terrain. And while you may not want to become a singer, conductor, or composer, the point is that musicianship feeds into, and enhances your music-making. It literally makes you a better musician.

In that sense, while I can’t promise you a glittering career, developing your musicianship definitely has the potential to level up your career opportunities in music.