Sir, The wider benefits of music education are not limited to school age (letter, May 31). Some years ago I was delighted but surprised to discover that the music department of which I was head had the best record for employment within the university.

The best way to improve your sight-reading at the piano is to play a lot more music, and have a teacher guide you about what you are doing right, and what you are doing wrong. But there are lots of books on the market that can help.

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 ABRSM requires a traditional unaccompanied song at all grades. Here are some thoughts: more to follow, but for now: Narrative, Range, Difficulty - and where do you find folk songs anyway?

Singers have something of a reputation, and not always in a good way. They don't practise as much as instrumentalists - in fact, many of them confuse the words practice and rehearsal - a cardinal sin in my book.

There seems to be a view that 8 years old is a good age to begin piano lessons: by that age children have sufficient mental and physical capacity, etc. But is it true?

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.

This page is a note about how I teach sight-reading. I've posted it as a matter of public service. Usual disclaimers about no responsibility taken if it doesn't help you, or makes matters worse!

Which is the best Piano Tutor for Adults? This article began in my mind when a new adult student turned up, and already had a tutor book.

I was depping on the organ the other day in a normal parish church near here. It was communion, and the choir was trying to sing And Didst Thou Travel Light by Richard Shephard under my direction from the piano.

It behoves a teacher to be able to suggest a course of study to a student of the Pipe Organ. This is a fraught area that requires a bespoke solution; this review of the literature suggests some options for teacher and pupil alike.

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.