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Find an ABRSM Grade 1 Music tutor

Start with the learner’s instrument or subject and the intended Practical, Performance or Music Theory route. Compare teaching approaches or send a free matching request with a clear Grade 1 brief.

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Grade 1 is a starting qualification, but it is not one interchangeable syllabus. A useful tutor brief names the exact instrument or subject, current starting point, assessment route, intended exam date and practice priorities. Tuition can then cover the right components and use clear review points without turning published qualification hours into a fixed schedule.

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How one-to-one tuition can help

  • Choosing the correct instrument syllabus and Practical, Performance or Theory route
  • Balancing pieces, technique, reading, listening or written knowledge around the assessment
  • Turning lesson feedback into a workable home-practice and readiness plan

Preparation uses the current ABRSM syllabus for the learner’s exact instrument or subject.

Available tutors

Compare ABRSM Grade 1 tutor profiles

Use the learner’s instrument and intended assessment route to judge relevance. Compare how each tutor would assess the starting point, cover every component and adapt practice. The free introductory meeting is the place to discuss goals, teaching approach and arrangements before paid lessons.

Portrait of Simon OKeeffe

Simon OKeeffe

Music and Music Performance Specialist

london, United Kingdom

£40.00 per hourDBS checkediAccepting enquiries
ABRSMGCSE (general)GuitarMusic Performance+4 more
  • Simon has over 12 years' of experience as a music educator across primary and secondary schools in addition to further education.
  • Holds a Bachelor of Arts (Hons) in Music (Guitar Institute).
  • Holds a Master of Arts in Record Production and Distribution (University of West London).
  • Professional background as a musician, producer, arranger, and musical director.

Music educator with 12+ years’ experience offering private lessons as a guitar tutor and piano tutor, plus drums and music theory. Supports GCSE, A Level and university music performance and music technology, with lesson reports and optional homework.

Send a quick enquiry from here and the Latimer Tuition team will pass it on to Simon.

View Simon’s profile
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Fix the instrument and assessment route first

ABRSM Grade 1 Music is an umbrella phrase, not a single course. The target might be a Practical Grade for a named instrument or voice, a Performance Grade built around a recorded programme, or Music Theory. These routes test different evidence, so a tutor search becomes useful only after the brief names the exact subject and intended assessment.

A candidate may begin at Grade 1 without passing an earlier grade. That entry rule does not answer whether the learner has the technique, reading, listening or written knowledge needed for the chosen route. The opening lesson should therefore establish what the learner can already do and what the selected syllabus requires next.

Piano Practical Grade 1 is a useful concrete example: its current assessment includes three set pieces, scales and arpeggios from memory, sight-reading and aural tests. Those components should not be copied onto violin, singing, guitar, Music Theory or another subject. Each has its own syllabus, repertoire period and practical arrangements.

  • Name the exact instrument, voice or Music Theory subject.
  • Choose Practical Grade, Performance Grade or Music Theory before building the plan.
  • Describe what the learner can play, read, hear or explain without prompting.
  • State the intended exam window so the correct syllabus period can be used.
  • Raise access needs, accompaniment and equipment before lessons are organised.
  • Treat broader musicianship as part of the brief, even when an exam is the immediate goal.
Check the ABRSM Piano Practical syllabus

Practical, Performance and Theory ask for different work

The route changes both the assessment and the preparation. Practical Grade develops a mixture of prepared performance and supporting skills. Performance Grade concentrates on communicating a four-piece programme in a digital submission. Music Theory assesses written musical understanding. None is a generic substitute for another, and instrument details still come from the selected subject syllabus.

  • Choose the route by the learner’s musical goal and the evidence they want to develop.
  • Use the instrument syllabus for repertoire, technical work and accompaniment.
  • Give every assessed component a place in lessons and home tasks.
  • Revisit the route if the learner’s goal changes before entry.
Assessment evidence
Practical Grade combines prepared performance with route-specific supporting skills; Performance Grade judges a recorded programme; Music Theory tests written musical knowledge.
Prepared material
The current Piano Practical example uses three set pieces. Performance Grade uses three set pieces and one suitable own-choice piece.
Supporting and unseen work
Piano Practical includes scales and arpeggios, sight-reading and aural tests. Performance Grade has no supporting-test or unseen-material component.
Music Theory content
Grade 1 covers foundational notation and rhythm, treble and bass clefs, selected major scales, tonic triads, intervals, terms and signs.
Home preparation
Practical work balances repertoire with technical, reading and listening tasks. Performance work develops four pieces, transitions and whole-programme control. Theory work uses written questions and recall.
Practical arrangements
A Practical subject may require instrument setup or accompaniment. Performance Grade requires a suitable venue, instrument, recording setup and any accompaniment.
Wider musicianship
Practical develops an integrated set of playing skills, Performance develops programme communication, and Theory develops the written language used to understand music.

Questions that reveal a useful tutor fit

A strong Grade 1 match is specific to the learner, instrument and route. Compare whether the tutor can diagnose the starting point, work from the applicable syllabus, plan every assessed component and make feedback usable between lessons. ABRSM’s own music-teaching criteria support looking for planning, responsiveness, adaptation and progress review; they do not show that a particular tutor holds an ABRSM credential.

Latimer tutors offer a free introductory meeting before paid lessons. Use that conversation to test whether the tutor’s explanations, expectations and practical arrangements make sense for this learner. It is normally a discussion about goals and approach rather than a full teaching lesson.

  • Which instruments, voices or Grade 1 assessment routes have you taught?
  • How would you sample the learner’s present playing, reading, listening or theory knowledge?
  • How will each assessed component appear in the lesson plan?
  • What would you change if a teaching strategy is not working for this learner?
  • How will lesson feedback become a clear task the learner can complete independently?
  • What evidence will you use when discussing readiness for entry?
  • Which accompaniment, equipment, access or recording arrangements should be settled early?

  • Subject fit

    The tutor can discuss the exact instrument or subject rather than relying on broad Grade 1 language.

  • Route fit

    The plan matches Practical, Performance or Music Theory instead of combining incompatible requirements.

  • Diagnostic fit

    The starting assessment identifies a short, ordered set of priorities linked to the syllabus.

  • Teaching fit

    Explanations, demonstrations and practice tasks are adjusted when the learner does not yet understand or retain them.

  • Feedback fit

    The learner knows what to work on, why it matters and how to judge whether the task has improved.

  • Communication fit

    The family can see what has changed since the previous review and what still needs attention.

Build lessons around the assessed components

A workable Grade 1 plan connects lesson time, independent practice and review. It begins with the selected syllabus, separates its assessed components and gives each home task a purpose. That prevents polished pieces from hiding gaps in technique, unfamiliar reading, listening, written knowledge or programme continuity.

The balance of work should change as the evidence changes. A Practical learner may need more technical or sight-reading attention in one phase; a Performance learner may need uninterrupted programme runs; a Theory learner may need repeated written application rather than more explanation. The structure stays stable while the emphasis moves.

  • Use the correct syllabus, repertoire list and score edition for the intended entry.
  • Write tasks as an action, a musical reason and a success cue.
  • Separate slow problem-solving from complete performances or timed written work.
  • Bring uncertain notation, fingering, technique or terminology back to the next lesson.
  • Keep listening and musical communication alongside accuracy.
  • Rehearse the assessment format early enough to expose practical problems.

  1. Establish the baseline

    Hear representative playing or sample written knowledge, then record a small number of priorities the learner can understand.

  2. Map the route

    Turn the selected syllabus into a simple list of repertoire, supporting skills, programme requirements or theory topics.

  3. Design home tasks

    Set specific work with a reason, a manageable scope and a way for the learner to notice improvement.

  4. Review with evidence

    Listen, observe or mark the task, then connect feedback to the relevant component rather than giving a general score.

  5. Rehearse the whole assessment

    Use complete Practical sequences, uninterrupted Performance programmes or mixed Theory questions to reveal continuity and recall.

  6. Reset the priorities

    Keep secure work in maintenance and move lesson attention to the component that now limits the overall result.

Use readiness evidence instead of a fixed timetable

ABRSM gives Grade 1 an indicative size of 12 guided learning hours and 60 hours of total qualification time in the cited Practical and Performance specifications. These figures describe the size of the qualification. They do not prescribe how many paid lessons to book, how often every learner should practise or how many weeks preparation will take. ABRSM notes that time changes with experience and ability.

A more useful entry conversation looks at repeated evidence across the selected components. One fluent piece is not enough if other repertoire, supporting skills, written knowledge or programme continuity remain insecure. The tutor should be able to explain the evidence behind the proposed timing and identify the work still needed.

  • Ask what the learner can now demonstrate without step-by-step prompting.
  • Distinguish an isolated difficult day from a persistent component gap.
  • Use a complete run or mixed set of tasks before making the entry decision.
  • Set the next review point from observable work rather than a promised calendar date.
Repertoire security
Prepared pieces can be played with continuity, detail and an appropriate musical character.
Technical control
Required technical material can be recalled and performed consistently for the selected Practical subject.
Unfamiliar material
Practical preparation includes evidence from sight-reading or the equivalent route-specific skill, not only rehearsed pieces.
Listening and response
Aural work or other listening tasks can be approached with a repeatable method.
Programme continuity
A Performance candidate can present all four pieces in sequence and recover from small disruptions.
Written understanding
A Theory candidate can apply notation, rhythm, scales, intervals, terms and signs across varied questions.

12 hours

Indicative guided learning

60 hours

Indicative total qualification time

Choose the Piano syllabus by the exam date

Piano learners preparing across 2027 have a specific repertoire decision. The 2027–28 pieces may be used in exams from 1 January 2027. The 2025–26 repertoire remains usable through 31 December 2027, creating a one-year overlap. During that overlap, all three set pieces must come from the same syllabus; pieces from the two lists cannot be mixed.

ABRSM states that Piano Practical scales and arpeggios, sight-reading and aural tests do not change for the 2027–28 syllabus. The repertoire decision still matters, so record which list the learner is using and align scores, lesson notes and mock exams to it. Other instruments and subjects have their own validity periods.

  • Start with the intended exam date, not the date the learner first bought a score.
  • Choose one Piano repertoire syllabus for all three set pieces.
  • Keep the supporting-test routine while changing repertoire lists.
  • Revisit the choice if the intended entry moves beyond the overlap.
Before 1 January 2027
Use the Piano 2025–26 repertoire for the intended Practical exam.
1 January to 31 December 2027
Use either the 2025–26 or 2027–28 repertoire, but take all three set pieces from one syllabus.
After 31 December 2027
The stated overlap has ended, so the 2025–26 repertoire is no longer covered by that transition permission.
Supporting tests
Scales and arpeggios, sight-reading and aural tests remain unchanged for Piano Practical Grades in the 2027–28 syllabus.
Lesson records
Write the chosen syllabus period on the working plan so pieces and mock preparation stay consistent.
Check ABRSM’s Piano 2027–28 guidance

Assign equipment, accompaniment and exam responsibilities

Grade 1 logistics follow the subject and route. A Practical candidate needs the instrument, music and any accompaniment required by that syllabus. A Performance candidate or applicant chooses the recording venue and is responsible for a suitable instrument, recording setup and accompaniment arrangements. If the candidate is under 18, a responsible adult must be present during the recording.

A teacher does not have one universal Grade 1 exam-day role. In some subjects a teacher may tune a bowed-string instrument for Grades 1–5 or act as an accompanist where the syllabus permits it. Those examples do not mean the tutor always books the exam, attends, enters the room or supplies equipment. Agree responsibilities separately and use the selected route’s booking guidance.

  • List the instrument, scores and permitted editions needed for lessons and assessment.
  • Confirm whether accompaniment is required and who will organise rehearsals.
  • Test recording position, sound, framing and uninterrupted operation for Performance Grade.
  • Name the adult responsible for an under-18 Performance recording.
  • Write down who will handle the entry and each practical task before the intended date.

  • Instrument access

    The learner needs reliable access to the correct instrument or other subject materials for lessons and home preparation.

  • Music and editions

    Repertoire must come from the valid list and use editions permitted by the selected syllabus.

  • Accompaniment

    Requirements differ by subject; organise the accompanist and rehearsal arrangements that apply to the chosen route.

  • Performance venue

    The applicant chooses a place where the full programme can be recorded under the Performance Grade rules.

  • Recording setup

    The candidate or applicant provides a suitable instrument, recording equipment and any accompaniment.

  • Tutor role

    Teaching, tuning, accompanying, booking and attendance are separate tasks; include only those specifically agreed and permitted.

Agree an inclusive and safe lesson setup

Tuition can adapt explanations, notation, pacing, demonstrations and home tasks to the learner’s usual way of working. ABRSM also provides fair-access arrangements, including reasonable adjustments and alternative tests or formats, while preserving the skills the assessment is meant to test. Raise the individual need early and ask ABRSM about the selected route before entry; the tutor can support preparation but cannot decide the arrangement.

For a child’s remote lesson, agree the practical safeguards before teaching begins. Professional guidance supports a parent or guardian agreement, a parent-controlled account where possible, a trusted adult on the premises, an open-door arrangement and explicit consent before recording. For private tuition in England, government parent guidance also recommends asking about safeguarding procedures, suitability checks, references, training, insurance, concerns and one-to-one arrangements. Families elsewhere in the UK should use the guidance for their nation.

  • Describe the learner’s access need in practical terms and explain what helps.
  • Ask how the tutor would adapt a task while keeping its musical purpose.
  • Leave time for ABRSM to consider any assessment arrangement.
  • Agree who controls the lesson account and how the invitation is shared.
  • Keep a trusted adult on the premises for a child’s remote lesson.
  • Decide in advance whether any recording is needed and obtain explicit consent.
Teaching adaptation
The tutor changes explanation, pacing, notation or practice method when the first approach does not work.
Assessment arrangement
ABRSM considers the individual request against the skills required by the selected assessment.
Parent agreement
The lesson format, communication channel and expectations are agreed with the parent or guardian.
Adult presence
A trusted adult remains on the premises and the room arrangement supports appropriate oversight.
Account and privacy
Use a parent-controlled account where possible and share lesson links through an agreed channel.
Recording consent
Do not record a lesson without explicit agreement about the purpose, access and handling of the recording.
Tutor-selection questions
Ask about safeguarding procedures, references, training, insurance and how concerns would be handled.

Next step

Compare tuition value without buying a package

Use the lesson rate shown on each tutor profile when you compare options. Latimer invoices after lessons on a pay-as-you-go basis, so standard tuition does not require a long-term package or fixed contract. A useful value comparison then asks what the paid lesson and follow-up work will cover, not simply which profile shows the lowest amount.

For Grade 1, the strongest value signals are exact instrument and route knowledge, a balanced component plan, practice tasks the learner can use, and clear progress review. Exam entry, scores, accompaniment, instrument hire or recording costs are separate practical questions unless the tutor has explicitly agreed otherwise.

  • Read the profile rate at the point you are choosing.
  • Ask what preparation the tutor expects before and after each paid lesson.
  • Compare how completely the plan covers the selected assessment.
  • Clarify exam, music, accompaniment, equipment and recording costs separately.
Exact-route fit
The tutor can teach the learner’s instrument or subject and the intended Practical, Performance or Theory route.
Component coverage
Lesson time is distributed across the assessed work instead of concentrating only on the easiest or most polished material.
Practice clarity
Home tasks are specific enough for the learner to act on without recreating the whole lesson.
Review quality
Feedback explains what has improved, what still limits readiness and what will be checked next.
Practical boundaries
The family knows which exam, score, accompaniment or equipment expenses sit outside the lesson charge.
See how pay-as-you-go lessons work

Turn the enquiry into a Grade 1 working brief

You can browse the tutor directory or submit a free Latimer matching request. The useful information is the same in either route: exact instrument or subject, intended assessment, present standard, target timing, lesson schedule and any learning or practical needs. That gives the tutor enough context to discuss fit rather than starting from the words “Grade 1” alone.

Latimer’s service is online-first and one-to-one. Microsoft Teams is the default lesson platform, although the tutor and learner may agree another method. Use the free introductory meeting to discuss goals, teaching approach and arrangements. It is not normally a full teaching lesson. If you decide to proceed, the first paid lesson can establish the baseline and turn the brief into a component-led plan.

  • Bring a short example of current playing or recent theory work where practical.
  • Name the exam window without treating it as a fixed readiness date.
  • Explain the learner’s usual practice conditions and lesson schedule.
  • Agree how progress will be reviewed and communicated.

  1. Define the request

    Name the instrument or subject, route, starting point, intended timing and priorities.

  2. Browse or request matching

    Compare profiles directly or send the same brief through the free matching form.

  3. Use the introduction

    Discuss goals, teaching approach, online arrangements and the questions that matter for this learner.

  4. Agree lesson delivery

    Confirm the platform, schedule, instrument view, audio and any materials needed for online one-to-one work.

  5. Establish the baseline

    Use the first paid lesson to sample the relevant components and order the initial priorities.

  6. Set the review cycle

    Connect lesson feedback, home tasks and complete assessment practice to a named next checkpoint.

Start a free ABRSM matching request

Keep the next musical step in view

Grade 1 can be an immediate assessment goal and a foundation for the learner’s next stage. Practical Grade develops prepared performance alongside technical, reading and listening skills. Performance Grade develops the communication and continuity of a recorded programme. Music Theory develops the written language used to recognise and explain musical ideas.

Tell the tutor what the learner wants beyond the entry itself. That might be more independent practice, broader repertoire, stronger reading, confident performance or a later grade. The answer changes how lesson time is balanced while the current Grade 1 requirements remain clear.

  • Choose an assessment route that supports the musical skills the learner wants to build.
  • Keep technique, listening, reading or written understanding connected to repertoire.
  • Use the Grade 1 plan to establish habits that remain useful after the assessment.
  • Review the next repertoire or study goal once the current components are secure.
  • Ask for a tutor brief that includes both the exam and the broader musical purpose.
Start my Grade 1 tutor search

Support and clarity

Frequently asked questions

Straight answers to the questions people ask most often.

Does a learner need an earlier ABRSM grade before Grade 1?

No. ABRSM allows candidates to begin at Grade 1 without passing an earlier grade; the formal prerequisite rule applies to Grades 6–8. The learner still needs a baseline assessment against the chosen instrument or subject syllabus, because permission to enter does not establish that the relevant technique, reading, listening or written knowledge is secure.

What is the difference between Practical, Performance and Music Theory Grade 1?

Practical Grade combines prepared performance with route-specific supporting skills. Performance Grade is a digital assessment of four pieces, including one own-choice piece, with no supporting tests or unseen material. Music Theory is a separate assessment of written musical knowledge. The learner should choose the route before the tutor builds repertoire, practice and mock-assessment work.

What is assessed in Piano Practical Grade 1?

The current Piano Practical Grade 1 assessment includes three set pieces, scales and arpeggios from memory, sight-reading and aural tests in a face-to-face exam. This is a Piano example rather than a universal Grade 1 checklist. Violin, singing, guitar and other subjects can have different repertoire, technical, accompaniment or format requirements.

Which Piano syllabus applies for an exam in 2027?

Piano 2027–28 repertoire may be used from 1 January 2027, while 2025–26 repertoire remains usable through 31 December 2027. During that overlap, all three set pieces must come from one syllabus. Scales and arpeggios, sight-reading and aural tests remain unchanged for the 2027–28 Piano Practical syllabus, although the repertoire lists change.

How long does ABRSM Grade 1 preparation take?

There is no single preparation period for every learner. ABRSM’s cited Practical and Performance specifications give an indicative size of 12 guided learning hours and 60 hours of total qualification time, while noting that individual time changes with experience and ability. Set lesson rhythm and entry timing after sampling the chosen components, then review complete assessment work.

What should I ask an ABRSM Grade 1 tutor?

Ask about experience with the exact instrument or subject and intended route, how the tutor would assess the starting point, how every component will be covered, and how teaching will adapt when an approach is not working. Also discuss home tasks, progress review, access needs, accompaniment, equipment and the evidence that would inform an entry decision.

Can tuition support ABRSM access arrangements?

Yes, tuition can adapt explanations, notation, pacing, demonstrations and practice methods to the learner. ABRSM provides fair-access arrangements, including reasonable adjustments and alternative tests or formats, while preserving the assessed skills. Raise the individual need early and ask ABRSM about the selected assessment; the tutor can prepare the learner but cannot decide the arrangement.

What equipment or accompaniment is needed for Grade 1?

The answer depends on the instrument and route. Use the selected subject syllabus for permitted scores, instrument requirements and accompaniment. For Performance Grade, the candidate or applicant is responsible for a suitable venue, instrument, recording setup and any accompaniment; a responsible adult must be present when a candidate under 18 is recorded.

Does the tutor book the exam or attend on exam day?

Not as a universal rule. A teacher may have a limited subject-specific role, such as tuning a bowed-string instrument at Grades 1–5 or accompanying where the syllabus permits it. Booking, attendance, equipment and accompaniment should be assigned separately for the chosen route. Use the relevant ABRSM booking guidance rather than assuming they are included with tuition.

What does Latimer tuition cost and how is it billed?

Use the lesson rate displayed on the tutor profile when comparing options. Latimer invoices after lessons on a pay-as-you-go basis instead of requiring a long-term package or fixed contract. Compare the price alongside exact-route knowledge, component coverage, practice guidance and progress review, and clarify exam, music, accompaniment or equipment costs separately.

What happens after I submit a matching request?

Submitting a Latimer matching request is free. Share the instrument or subject, intended route, starting point, target timing, schedule and learning needs. The free introductory meeting is for discussing goals, teaching approach and arrangements; it is not normally a full lesson. If you proceed, agree the online setup and use the first paid lesson to establish priorities.

Further information

Useful links and resources

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