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 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.

This is a check list for sight-singing in ABRSM Singing Grades 1 to 5, and for general aural tests in Grades 6 to 8 (tests 6b, 7b and 8b).

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.

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

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.

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.

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

You might be asking yourself why I would need to post a translation of a very famous song. Well, if you look this song up in an CD booklet or book of translations, almost all of them give the Shakespeare original. But that isn't right.

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

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.

What is the secret of successful practise? Don't play the wrong notes! Does that sound simplistic? Bear with me.