My wife and I have been to the opera. But we prefer to go to unstaged opera: that's when an orchestra gives an orchestral concert, but instead of playing an overture, concerto and symphony, they play an opera instead, with the soloists standing out front.

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.

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?

Students need help with their dancing. Being able to identify a waltz (oom-pah-pah), or a Sarabande (slow, in three, and 'sits down' on the second beat) from their distinctive rhythms and texture is useful in itself, but there is an added bonus.

ABRSM Aural Tests assess students' listening skills by requiring discussion of a piece of music which is played to the student on the piano. In my experience, students are sometimes disadvantaged by a lack of vocabulary in discussing the music.

You are learning the pipe organ, and need one to practise on. Assuming you do not have access to a church with an appropriate instrument, you will need one at home.

"I couldn't practise, because there wasn't a piano where we were on holiday." My response would be "And your point is?". I get mystified looks. If they had at least taken their sheet music, they would have been able to do something.

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!

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.

I wrote some piano music recently, and had my students perform it in a concert. Gosh! I was much more enthusiastic about drawing their attention to the details of the score than I usually am.

If you are an A-level (or prospective A-level student), who needs to improve their keyboard skills, then here is a possible syllabus that I would suggest, with resources for the first year of lessons.

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.