Old editions have their uses. The old Novello edition of Chopin Nocturnes has a very helpful table of the fioriture (fast florid passages) in the Chopin Nocturnes, with an interpretation by Frank Merrick of how to play 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.

"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.

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

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.

Does playing the piano make you brainy? Yes. It really does. On 29th September 2010, New Scientist reported recent research from several sources which explain how.

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!

Here are the Top Ten Tips for adult beginners learning the piano, from an article that appeared in Pianist (the magazine) August-September 2003 by Jocelyn Abbott.

I constantly re-iterate "Pitch, Rhythm, Fingering" when students start to learn a new piece: it helps their learning. Pitch and Rhythm alone are not enough.

Please, people! If you go to a wedding ceremony at which live musicians are performing, please have the courtesy not to talk over them.

If your concert nerves get the better of you, take advice from the world of sports psychologists, and apply their techniques to tackling concert nerves: process goals, thought stopping, using imagery, and seeking social support.

When learning a new piece of piano music, start with the Left Hand. Why? Because it is harder. But we can all take inspiration from the pianist Paul Wittgenstein, who used only his left arm and hand in concerts.