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If you are a music teacher and have been instantly faced with the problem of moving all of your students online we can help.

At Your Space Music Lessons we have built up 6 years of experience teaching musical instruments online and work with a great network of music teachers who are successfully teaching online on a regular basis.  We have the skills and expertise to be able to pass on to you should you need our assistance, even just temporarily.

We have a package available for private music teachers who are able to bring 30 or more students with them onto our platform specially designed for the online music teacher.  You will be given a login to the Your Space Music Lessons online lesson notes, planner and diary system, a google account for bespoke emails and to enable upload your lesson videos to a private online storage for safe guarding.  With a lesson payments system with fees going directly into your Paypal account, we will also provide full training and support to get your lessons up and running fast.  We will assist all of your pupils in using video conferencing system and can enable testing if there are connection problems that arise.  We are here for you to ensure your lessons can transition as smoothly as possible so you can focus on teaching and continue your good work.

Contact us directly by email [email protected] to discuss further including terms.



The online teaching service at your Space Music Lessons is a fantastic curated team from the best of the UK, each teacher with an incredible passion for music and a desire to transfer their music knowledge and skills to their students.  Having taught online for the past 6 years we understand how best to deliver great one to one online lessons, live to you whereever you are.

We are ready to prepare you for every music grade to bring out the best in your music ability, and we pride ourselves in an unblemished music pass rate, benchmarking our music service to an industry high.  We often use our pool of teachers to deliver different elements from lessons to workshops and online performing clubs and concerts and believe we have fantastic music learning opportunities for you to discover. 

If you are looking for a highly experienced team of teachers for top up lessons, or lessons to build your skills please register for a free taster lesson. 

Did you know Your Space Music Lessons began as a result of a Skype family dinner party? 

Founder Olwen Macleod, who lives in the Westerns Isles of Scotland, recalls how it all began

'My parents Peter and Carole live in Shropshire, our brother Matt is in Stevenage and my sister, Abigail, is based in Huddersfield, West Yorkshire.  Between us we span 640 miles!  When my Mum reached 60 we found we were unable to all get together for her birthday so we decided to have a Skype Dinner Party instead.   It was a brilliant and hilarious occasion and after we’d all had a couple of glasses of wine (no one was driving) my brother jokingly suggested I should do my piano lessons over Skype. THAT was the beginning of Your Space Music Lessons.'

We arranged the dinner party meticulously and it's amazing how much fun you can have even when you're not in the same room.  We have provided a few tips here:

We took some time to catch up with Your Space Music Lessons online singing teacher Peter Edge at the beginning of an exciting year, here is our Q & A below:  

We think pupils and parents would be interested to learn what other music activities you do as well as teaching.  Can you share a typical week with us?

It depends on the week to be honest, but I do a lot of practising and rehearsing.  Most days consists of practicing for 4 – 5 hours and then preparation for singing lessons in the evening.  The next production I will be doing will mean rehearsing 10am - 5.30pm every day and then doing teaching in the evening. 

What Performances have you got coming up?

My next production is working with Opera North on their Whistle Stop Opera Project.  We’re doing 32 performances of the Marriage of Figaro and I am playing the role of Figaro.  It’s only an hour long so it’s a great introduction to Opera.

Can you highlight any performances that you have done recently?

I recently played Marcello in La Boheme in full Italian with the Hampstead Garden Opera and one of the biggest highlights was making my debut at the Royal Albert Hall singing The Toreador Song in front of 3000 people.  Last year was just fantastic as I also graduated with Distinction as a Master of Music (M.Mus.) from the Royal College of Music.

How does your career work influence your teaching and vice versa?

Yes it definitely does because unlike an instrument, everyone has a different voice but also different levels of anxiety.  A lot of people won’t realise how difficult it is even just standing up there, you have nothing, it’s just you and your face and it can be really daunting.  People tense up and forget the words.  I find going on the circuit you listen to tips and tricks of the trade as well from other people but also your own experiences and you can throw that back at them. Everyone feels it so we can talk about it and provide solutions to it.

What do you enjoy about teaching online?

The benefit of online teaching is that it is mobile for everybody and you don’t waste as much time and hence the lesson quality can be in some way better because you are straight to the detail, straight to the point.  I do find that with a camera you have to keep momentum going all the way through, and because of that you have to give it constant energy.

I’m really lucky to have a great bunch of students with ‘Your Space’, they are all different and come from all parts of the world which I find very exciting.  I tell the production team I work with and they can’t quite believe it when I say yeah, I’m going to America this evening, India tomorrow, Norway and Oxford….  My students are all at different stages of musicianship and I love seeing the fire and the captivation from students as they focus in.  Singing means a lot to them.

Do you have a speciality or topic in the back of your mind when teaching?

I do focus quite a bit on anxiety even for people if they are not performing, as sometimes they get nervous singing in front of me.  It has taken one student about a year to break that mould.  It’s about reassuring them that it’s not all about being note perfect, it’s about your own interpretation; if you enjoy it, the audience will.  But it’s important to know the audience is always behind you too; they don’t want you to fail, they want you to succeed.  Focusing on your breathing, posture and stance can work wonders and can override your mind playing tricks on you.  By focusing on the words and how it makes you feel and why you are singing it will also alleviate a lot of your anxiety.  I have learned, absorbed and researched a lot in this area and live online singing lessons, in the comfort of your own homes can be the perfect environment to break it down and work on it.

What have been your online teaching highlights?

Yes, one of my students who I taught in Spain has now moved to London and is going from strength to strength singing wherever she can, even the National Anthem for a London Lions game, and another is on tour with her band.  One special student I teach has made enormous progress and worked so hard to improve her tuning dramatically.  From not being able to sing a note in tune to now being able to accurately sing a tenth interval, it’s astonishing.  It only goes to show what can be achieved.

Catch Peter in the Marriage of Figaro during February and March 2020

Find out more about Peter’s work here


Our recent Composition Competition was a wonderful way for pupils to express their inner creative talents, and we were thrilled with the quality of entries.  The competition was judged by Alexander Chisholm-Loxley who is a composer and piano teacher with Your Space Music Lessons.  Alexander has kindly provided feedback to each entrant in the competition and judged the following awards:

The Winners

Age 4 - 10 Category
Harris Jakub - A Winter's Night

Runners Up
Emily Minor - Christmas Cheer
Anaé Bobrie - Guitar Piece

Age 11 - 17 Category
Jess Harris - The Lake Freezes Over

Runner Up
Ailsa MacKinnon - Midwinter



Our fantastic new composition competition is now on!  This is a brillliant opportunity to get your creative juices flowing especially if you are learning an instrument, and a chance to explore your instrument and find out what you can do.  Your Space Music Lessons, online music school, will be awarding prizes for Christmas or winter themed compositions from entrants in three age categories:

  • Age 4 - 10 Child
  • Age 11 - 17 Older Child / Teen
  • 18+ Adult 

To enter you must compose a piece of music; a song with words or a melody with a Christmas or winter theme influence.  Think about the mood of the piece, using tempo, dynamics and phrasing of your melodies to evoke characterisation.  You make like to add notes with your submission along with an imaginative title.

The composition does not need to be notated but you must submit a performance video recording that you can play yourself on an instrument of your choice.  The recording must be made in landscape orientation.  The resulting mp4 files must be sent to [email protected] (via with your name, age and title of the piece. 

On submitting your entry you agree for it to be added to a playlist of compositions published on the Your Space Music Lessons website.

The compositions will be judged by professional Composer, online piano teacher and Your Space teaching partner teacher Alex Chisholm-Loxley.

Entries must be received by 17th December 2019 at midnight and the winner will be announced by Saturday 21st December. 

The competition is open to Your Space Music Lessons pupils and the general public.

The winner of each category will receive a £25 Amazon e-gift voucher and a certificate.  There is no alternative prize, and the judges decision is final.

To ask any questions about the competition please contact [email protected].


Your Space Music Lessons piano teacher Alex Chisholm Loxley will be performing a series of Beethoven Piano Sonatas in a wonderful new piano festival at Ushaw College, County Durham between 18th and 20th October 2019.

Alex's programme at 14.30pm on the 19th October includes: Beethoven's Piano Sonata No. 8 in C minor, Op. 13, commonly known as Sonata Pathétique, Piano Sonata No. 14 in C♯ minor "Quasi una fantasia", Op. 27, No. 2, popularly known as the Moonlight Sonata, and Piano Sonata No. 23 in F minor, Op. 57 (colloquially known as the Appassionata, meaning "passionate" in Italian). 

Amongst the ther performers are Paul Taylor (18th Oct), Michael Grave (19th Oct), Annie Ball (20th Oct), and Bill Hilton (20th Oct) who together with Alex will be hosting a Masterclass on piano improvisation.

Full details can be found here


Find out how Charity 'Music For All' Can Help Musicians in the UK

Chief Executive Paul McManus explains:

Music making is a life enhancing and life changing activity that should be able to be enjoyed by everyone.  Sadly, far too many people are not able to afford musical instruments or lessons to develop their talent. The cuts to budgets in schools put the teaching of music to the next generation under threat. Community music groups help break down cultural barriers and strengthen social unity, but most would benefit from a “helping hand” to fulfil their potential. This is where we come in!

Music for All exists to bring the world of music making to as many people as possible in the UK. Young, old, regardless of personal or life challenges, we truly want music to be for all.

Our charity is run entirely by volunteers who are all musicians, who know first-hand how the power of music changes lives for the better. We have minimal overheads and administrative costs, so money raised goes directly into helping the people, schools and projects that need us.

We are also fortunate to have a wide range of musical celebrities endorsing our charity. We are very proud to have Jools Holland as our Patron.


What do we do?

Music for All exists to bring the world of music making to as many people as possible in the UK.


1. We donate instruments and music tuition to individuals who need our help.

2. We make grants available to address the musical needs of community music groups and educational organisations.

3. We bring free of charge ‘Learn to Play’ experiences to people of all ages and backgrounds.

4. We promote the life changing benefits of music making.


In this digital age the opportunities to learn to play the piano have been revolutionised, and the search for a piano teacher doesn’t always lead where you would expect. 

Adult pupil, Jean said ‘I wanted to find some person to person piano lessons. But I couldn’t find one that was within my time frame after work and for certain dates I wanted. I didn’t want to travel too far and often I’m exhausted after working in the centre of London.’ In Jean’s case she was taking a term time group piano class with 11 other pianists in the building she works in but felt she would lose momentum during the summer break and wanted a solution to supplement her learning. Jean was open minded about trying new things and thought she would give live online piano lessons a go and booked her first three lessons to explore the opportunity.

Similarly, adult piano learner, James Williams found the time saving of learning at home an attractive feature after spotting an article about using Broadband for connecting and learning a musical instrument. ‘I finish work at 5.30pm and I can start my lesson at 5.30pm. Who else can say that?’ and his online piano teacher, Alex Chisholm Loxley sees the advantage for pupils like James, ‘when he’s got small children around and other stuff going on, he can just take half an hour out of the day to have a lesson and it keeps it all easy.’ And connecting virtually to a piano teacher outside of London was also a significant factor for James, ‘I think if I were to pursue this with the prices I have seen in my local area I may have not been able to keep up with it at London prices, £35 for a 30 minute lesson.’

8 year old Abi Johnston had a more stark choice when it came to a piano opportunity says her mum Lucie. When Abi’s ‘face-to-face’ teacher became unwell it became apparent what a barrier distance can be. ‘We live in the middle of nowhere. When we looked to get a new teacher the closest one was a 50 minute drive. So Abi would have had to stop or do online lessons. It’s been brilliant.’ Abi has gone on to pass an ABRSM music exam at her most local centre and really enjoys her online lessons, she says ‘I quite like how you don’t feel like there is someone watching you and judging you, like it can feel in face to face lessons.’

James’ passion for the piano and his regular contact with Alex has given him the skills to enter for ABRSM Grade 1 and 2 piano exams too, passing both with distinction, and he has a real vision to reach grade 8, although he does worry about learning online at that level ‘You worry that the quality would come across over to Alex. Can he hear my dynamics as much as I can hear them?’

This is an issue advanced online piano teacher, Mark Stawman, gets asked about a lot, ‘if pupils know the notes and you’re really working on the interpretation, the subtleties, the tone and the balance it’s worth investing in a good external microphone at grade 7 and 8’. USB Microphones can be purchased at £50 – 60 mark and used together with Skype or Zoom to enable the teacher to work at advanced level, but otherwise everyday laptop / tablet devices are generally fine for beginner and intermediate level players. Both Mark and Alex feel that online piano lessons have been ‘on trial’ but that everything that needs to be achieved can be done, so it’s been a massive game changer at all levels for people who can’t get to piano lessons, ‘Sharon’s grade 8 distinction was the moment of validation for me. We’re clearly not fooling ourselves that this works.’ says Alex.

So how do online piano teachers meet a high teaching quality benchmark? 

When it comes to things likes posture and fingering on the piano, the camera angle on the pupil becomes vitally important ‘you can frame the camera so you ensure you can advise on posture and hand position, and for the beginners a laptop with everyday broadband can be all that’s needed. Plus, all our teachers have a professional microphone and camera set up’ says Olwen Macleod, Teaching Director at Your Space Music Lessons, who specialises in teaching the piano online to beginner adults and children. ‘Everything is taken step by step as if the teacher is sat next to you. And we build positive motivating relationships to develop confidence in all our music students.’

The flow and focus of online piano lessons is an advantage thinks Mark ‘If I explain a passage I can demonstrate it quicker than if I have students in the room otherwise I have to say 'move out of the way’. You have to be really good at communicating, but I think that makes you a better teacher.’

Music teaching academics are increasingly reflecting on the activities of online music schools, ‘as a piano teacher at the Royal Conservatoire of Scotland in Glasgow I have always been cautiously interested in the idea of online teaching but perhaps giving more thought to the potential problems rather than the potential advantages. Clearly the lessons are having a beneficial impact on the learners, both children and adults, and they are also without doubt enjoying their teachers’ 1 to 1 lessons with a similar ease of communication and enjoyment as they would have in ‘real’ life. My main concern has always been about sound quality and this is where our new digital age shines brightly and is a major factor in it’s recent success.’ says Isobel Anderson, Lecturer at RCS.

There’s still some way to changing the perception of online learning for something so personal and practical, as Jean says ‘Yeah people do think it’s strange. I think it’s the concept of it. It’s like how? how?’ and Online piano pupil Sophie Durrant still remembers chatting to other students in the ABRSM waiting room before her exam ‘They were really surprised as none had actually done it before, I was one of the first people to go in there having had skype lessons. Not many of them knew about it.’

Pupils drawn to online learning include those less at ease with mainstream learning. Alex concurs ‘I think my student Rebecca is a bit of a success story because she is clearly very passionate about piano, despite her learning disability, but this doesn’t hold her back at all. She had a face to face teacher before but has chosen to stick with my online lessons because she feels comfortable at home and this allows for a calm, controlled learning environment for her.’

The teacher / pupil relationships that develop in live online lessons are undoubtedly an important part of the learning process, and many pupils feel motivated and empowered by that agrees Sophie ‘If you have a teacher who says you did that really well and can tell you how to improve in a nice way it makes a big difference.’ and Jean also values the balanced learning relationship ‘it is quite good to communicate to your teacher ‘’let’s try something new’’ and we do.’ 

For aspiring musicians with barriers to accessing tuition, being open to live online piano lessons linking them to experienced good quality piano teachers can be a genuine solution, especially as the medium is producing equivalent results to traditional learning. Live online piano tuition enables positive human interaction to absorb learning, gives you the motivation and feedback you need to progress, whilst being in control in your own space to feel relaxed and comfortable.

'I didn’t intend to sign up for online piano lessons…but it works really well for me’ – Jean, London.

Your Space Music Lessons teacher, Alison McAusland, offers valuable advice on trying to access the register notes for the first time:

A large number of my clarinet students are trying to access the register notes for the first time so this blog post is designed to help you. It is around the transition from ABRSM Grade 1-2 where you start playing notes over the break. Moving from the first register (chalumeau register) and the second register (the clarion register) can be frustrating at first – for both the player and anybody listening too! Sometimes the notes don’t sound at all and at other times they squeak. This is a point in a clarinetist’s journey which can undermine your confidence and you may even consider giving up. But don’t fear! Here are some tips designed to help you…


1. Check your embouchure (mouth position). A quick review of the basics can reveal why you are struggling to achieve notes in the second register. You need your bottom lip slightly tucked over your bottom set of teeth. Turn sideways and ask a friend or parent to check that you are doing this.

2. How much of the mouthpiece should be in your mouth? The answer is to have as much of the mouthpiece of your clarinet in your mouth as you can until the sound starts to change and it feels uncomfortable and you may start to squeak – experiment and find what feels right for you! Then the corners of your mouth draw in around the mouthpiece but being careful not to bite.

3. What should you do with your tongue? It might seem like a strange thing to think about but the tongue should be high up in the mouth when you blow a high note (as if you are saying ‘heee’). This will allow the high note to really sing. Remember to give the note enough air support or it won’t sound (see tip 5!). 

4. The strength and brand of reed you use can make a huge difference. If you are playing a reed that is too soft you will struggle to achieve the higher notes. I recommend beginners start on Vandoren strength 1.5 reeds because it is easier to achieve a good sound without feeling like you have to blow really hard. However, high notes require more air support and resistance and therefore you will find you need to move up to a Vandoren 2 or even a 2.5. The best reed to use varies between individuals. It’s your first time learning, but I’ve seen lots of people go through this – ask my advice before making a change. If you’re reading this and you’re not my student, then have a talk with your teacher. And if you don’t have a teacher, get in touch ! 

5. Air support for high notes is very important. You need great air speed to produce notes in the upper register. Imagine you had a hose pipe; turning the tap on stronger would make more water come out. That’s like blowing harder – it makes a louder note. But here you want better notes no matter the volume... so instead of turning the tap on, imagine squeezing the hosepipe at the end so you get a small, fast jet. It’s weird but if you picture this in your head you often get the result. Fast air is not just blowing harder but directing the air with control and at speed. 

6. Don’t tighten up. Lack of confidence in your own ability to produce the higher notes can cause jaw tightening. This tightening can prevent you from achieving your high notes. When you get nervous as you play (knowing that the high notes are coming up shortly) we tend to tense. This tension is felt throughout our bodies. Our shoulders rise up and our chest, jaw and throat all tighten. This can also lead to a firmer mouth position and even biting of the reed. Biting the reed reduces the vibrations and makes it more difficult for the notes to sound and you will squeak. Try dropping your shoulders, relax and then your throat and jaw are more likely to relax.

7. Check your finger positioning on the key: especially youngsters who have smaller hands can struggle here. There are two things to watch out for here. Firstly, covering the holes fully. Have you noticed that the holes on the right hand are bigger than those on the left? If you are not precise the notes will not sound properly, and the note might feel resistant. Try standing in front of a mirror and look at your fingers when you are playing. Are they any holes leaking air? Keep your fingers round and arched and you will get a feel for where your fingers need to be.

8. Watch out for your left thumb positioning! You should be rolling your thumb to hit the register key not removing it and placing it down. Also, check that when you roll your thumb to the register key that you are not moving your whole hand, as you will bump other keys. If you go through these tips and use it as a checklist then there will definitely be some things to work on. I would be really amazed if your troubles didn’t stem from one or more of these points. 

Finally, a note for people reading this who aren’t my own students. Beware that if you have already practised far enough with bad habits, making a change can seem like a step backwards and you might start to struggle or squeak morefor a little bit. But if you follow these guidelines, you will soon start to sound the notes more easily and with a sweeter tone.

Good luck, and happy practising!