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

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.

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.

It seems to me that there are two problems with ornaments: technical and visual. The technical aspect is not just that students can't get their fingers around ornaments on the piano

Is counting natural? My experience tells me not! Many young children have to be taught to hear the pulse of music, and most of us have had to learn to keep a steady pulse. One needs to practise, sometimes, with a metronome.

Some pianists, (many well-known concert artists, in fact) find playing from memory easy, and some find it very difficult. The pointers in this article, from Pianist magazine, may help.

Fergus Black of John Clare School talks about his experience teaching music online over the past year.

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.

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.

There seems to be a view that 8 years old is a good age to begin piano lessons: by that age children have sufficient mental and physical capacity, etc. But is it true?

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.