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!

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.

I find that some beginner students just can't remember the names of notes, so I made these resources to help.

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?

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.

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.

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

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.

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.

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.

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.