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.

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.

How does one choose a voice teacher? How do you know if it's someone who will develop your voice appropriately, but not harm it? It is hard to know what to look for or what to ask a prospective teacher.

Why is it that some singers manage to pronounce words clearly when they are singing? and others do not.

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.

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.

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

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.

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

One thing, often overlooked for online lessons is that both the teacher and student need a copy of the same edition of the same music. But singers need still more.

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.

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.