I realise that many instrumentalists find sight-reading difficult. However, they should spare a thought for singers. Except for those who have perfect pitch, singing at sight is a lot harder than playing at sight on an instrument.

You want to practise for your exam. You take out the CD from the envelope at the back of the book, but horror of horrors, it goes at the speed of light, and you can't keep up.

The short answer would be "With some difficulty". If you are an instrumentalist, ask yourself, how would I practise if I didn't have my instrument with me? That puts you, more or less, in the position of a singer.

This book for beginners at the piano is a breath of fresh air. It is fun, amusing, and unlike any other beginner tutor I know of.

This is my setup for teaching online. Necessity is the mother of invention. When the coronavirus struck, my private and school teaching evaporated.

Which exam board should aspiring musicians follow? Which has the best syllabus? and which has the best structure?

I recently came across a comment by Richard Egarr of the AAM, in an interview for the Cambridge Alumnus Magazine. Does anyone else do this? Ban pencils in rehearsals?

There are too many scales in ABRSM piano exams: far more than for other instruments - and I have sat across the table from the chief examiner and told her so. Why are there just scales and arpeggios and not technical exercises, as for other instruments?

I offer Piano lessons - not Portable Keyboard lessons. If you are considering whether an instrument at home is suitable, here is a short guide.

Many people struggle with sight-reading at the piano. But not all for the same reason or reasons. Here are some common problems, together with my solutions to them.

This page is a note about how I teach students how to practise. What areas they should include and what technique can help them improve pieces they are learning.

Fergus Black of John Clare School talks about his experience teaching music online over the past year.