There was a while when I felt obliged to make recordings for students, to help them learn new pieces. But now, there is a wealth of professional material available through YouTube

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.

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.

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.

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

I have been delivering a crash course in ABRSM Grade 5 Music Theory this week, for some nice people in Stamford (UK). They called their course Music Theory Fast, and whilst I cavilled, of course, at the grammar, I liked the double meaning of "Fast": we did it quick, or rather quickly, and hopefully it will stick fast.

What are benefits of scale practice, and what are the best ways to practise scales? The Aristocats knew: "Every truly cultured music student knows, You must learn your scales and your arpeggios"

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.

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.

Over the years, I have used many different piano tutor books with students of all ages as they start learning the piano. There are some books that I come back to again and again, because I think they are creative, well written, and structured.

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.

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!