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Find an ABRSM Grade 2 Music tutor

Choose support around the learner’s instrument, starting point and either the Practical or Performance route. Compare teaching approaches or ask Latimer to shape a focused Grade 2 brief.

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ABRSM Grade 2 tuition should begin with two decisions: the learner’s instrument and whether they are preparing for a Practical or Performance Grade. Grade 1 is not a formal prerequisite, but the learner still needs an instrument-specific starting standard. A suitable tutor can assess that baseline, map lessons to the current subject syllabus and build preparation around the skills the chosen route actually assesses.

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How one-to-one tuition can help

  • Choosing the correct instrument syllabus and Practical or Performance route
  • Building pieces, technique, reading, listening or programme fluency around the assessment
  • Using clear readiness checkpoints for practice, mock exams and recording logistics

Preparation follows the learner’s current ABRSM instrument syllabus and chosen exam format.

Available tutors

ABRSM Grade 2 tutor profiles

Use instrument, exam-format and teaching-approach questions to assess fit. If you want help defining the brief, tell Latimer the learner’s instrument, current playing standard and intended Grade 2 route.

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.

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Start with the instrument and exam route

ABRSM Grade 2 is a Level 1 qualification in the UK framework. Candidates can enter at any age, and passing Grade 1 first is not a formal requirement. That freedom does not make Grade 2 an instrument-neutral course: the learner needs the playing foundation for their instrument and must work from the subject syllabus that applies to the intended exam.

The second decision is format. Practical Grade develops performance alongside technical work, sight-reading and aural skills. Performance Grade concentrates on presenting a four-piece programme as a digital submission. Tuition becomes much more precise once the tutor knows the instrument, route, starting point and intended exam window.

  • Name the exact instrument, including any variant that changes repertoire, technique or accompaniment.
  • Decide whether the goal is a Practical Grade, a Performance Grade or broader Grade 2-standard musicianship.
  • Use the learner’s instrument syllabus and any ABRSM corrections; the Piano Practical example on this page follows the 2025–2026 syllabus, while the generic Performance specification is valid from 2025.
  • Describe what the learner can play comfortably, where fluency breaks down and how they currently practise.
  • State the intended exam window without turning it into a fixed readiness promise.
  • Raise access, equipment or accompaniment considerations before a preparation plan is agreed.

Practical and Performance Grade 2 compared

The two ABRSM routes lead to Grade 2, but they ask for different evidence. Under the Piano Practical syllabus for 2025–2026, the exam includes three pieces plus scales and arpeggios, sight-reading and aural tests. The generic Performance specification valid from 2025 uses three set pieces and one own-choice piece, submitted digitally, with the whole programme considered as well as each performance.

These piano details are a concrete Practical example rather than a universal syllabus. Other instruments, singing and jazz can have different repertoire, technical, accompaniment and timing requirements, so the instrument syllabus that applies at entry remains the controlling document.

  • Choose the route by the learner’s goals and strengths rather than treating one format as universally easier.
  • Ask the tutor to explain how lesson time will reflect every assessed component in the selected route.
  • Use a complete mock exam for Practical or an uninterrupted programme recording for Performance.
  • Keep repertoire, timings and technical work tied to the syllabus for the learner’s instrument and intended entry.
Assessment setting
Practical: a face-to-face exam. Performance: a digital submission recorded as one continuous, unpaused take.
Prepared music
Practical Piano: three pieces. Performance Grade: three set pieces plus one suitable own-choice piece.
Supporting skills
Practical Piano includes scales and arpeggios, sight-reading and aural tests. Performance Grade has no separate supporting-test component.
Programme judgement
Performance Grade adds an assessment of communication, consistency and control across the four-piece programme as a whole.
Logistics
Practical preparation includes the exam-room setup and any accompaniment. Performance preparation includes venue, instrument, audio, framing and recording compliance.
Musicianship emphasis
Practical develops a broad mixture of playing, technical, reading and listening skills; Performance prioritises interpretation and programme delivery.
Marks and result bands
Both routes use 150 marks: 100 to 119 Pass, 120 to 129 Merit and 130 to 150 Distinction. Components do not each need a separate pass.

Questions that reveal tutor fit

A useful ABRSM Grade 2 match is specific to instrument, route and learner. Ask how the tutor diagnoses the starting point, works from the applicable instrument and exam-format requirements, teaches the assessed skills and explains progress.

Latimer tutors offer a free introductory meeting before paid lessons. Use it to discuss goals, teaching approach and practical arrangements. It is normally a planning conversation rather than a full teaching lesson, which makes clear questions more valuable than trying to cover a large amount of music.

  • Which instruments and ABRSM Grade 2 formats have you taught recently?
  • How will you assess pieces, technique, reading, listening or whole-programme control at the outset?
  • How do you turn ABRSM marking language into feedback a learner can use between lessons?
  • What would make you delay an exam entry even if the planned date is approaching?
  • How will you select or review repertoire within the current syllabus rules?
  • How do you adapt notation, explanations, pacing and home tasks for the learner’s usual way of working?
  • What equipment, accompaniment or recording setup should be organised outside lessons?
  • How will parent or learner updates distinguish progress made from work still needed?

  • Instrument fit

    The tutor can discuss the exact instrument, technique and repertoire rather than relying on general Grade 2 language.

  • Format fit

    The tutor can build either supporting-test work for Practical or programme and recording work for Performance.

  • Diagnostic fit

    The first assessment produces named priorities linked to the relevant components and marking criteria.

  • Teaching fit

    Explanations, demonstrations and practice tasks are understandable and workable for this learner.

  • Communication fit

    The learner and family know what is being worked on, why it matters and what should happen before the next review.

A component-by-component preparation cycle

A strong Grade 2 plan connects lessons, independent practice and review. It does not simply repeat pieces until an exam date arrives. The tutor should establish a baseline, separate the assessed components, choose a manageable home routine and revisit complete performances often enough to find problems that isolated practice can hide.

For Practical Grade, recurring work may cover pieces, technical requirements, sight-reading and aural skills. For Performance Grade, the plan should develop four pieces, transitions, stamina and the ability to produce a compliant continuous recording. The proportions can change as evidence of readiness changes.

  • Use the exact edition and syllabus list required for the instrument.
  • Keep a simple lesson note with the task, reason, success cue and next review point.
  • Include listening and musical communication rather than treating accuracy as the only aim.
  • Change the balance of work when a component improves instead of preserving a rigid weekly formula.
  • Record occasional complete runs to expose continuity and recovery issues.
  • Plan accompaniment, page turns, instrument setup or digital-recording details early enough to rehearse them.

  1. Establish the baseline

    Hear representative repertoire and sample the skills required by the selected route, then record a small number of priority areas.

  2. Map the components

    Turn the instrument syllabus into a working map of repertoire, technical tasks, unseen skills or programme requirements.

  3. Design home practice

    Set short, named tasks with a musical purpose, a way to self-check and a clear point for bringing questions back.

  4. Review with criteria

    Use pitch, rhythm, tone, shape, detail, character and style to make feedback more precise than a general readiness score.

  5. Rehearse the full event

    Run complete Practical mocks or uninterrupted Performance programmes so stamina, transitions and recovery become visible.

  6. Make the entry decision

    Combine component evidence, logistical preparation and consistent full-run performance before choosing the exam timing.

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Readiness means evidence, not a calendar date

ABRSM’s qualification-size guidance estimates 18 guided learning hours and 90 total qualification hours for Grade 2 in the Piano Practical syllabus for 2025–2026 and the generic Performance specification valid from 2025. Those figures describe qualification size. They are not a prescribed lesson total, weekly timetable or preparation deadline, and ABRSM says the time can change with prior experience and ability.

A tutor should therefore base the entry conversation on observed performance. The official criteria provide useful checkpoints: secure pitch or intonation, controlled rhythm and tempo, appropriate tone, musical shape and detail, and convincing character and style. Performance Grade also calls for consistency and control across the programme.

  • Ask what evidence supports the proposed entry timing.
  • Separate a difficult week from a persistent component gap.
  • Review a complete mock rather than making the decision from one polished piece.
  • Treat the published hours as planning context, not a promise about lessons or weeks.
Component security
The assessed areas can be demonstrated repeatedly, not only after a fortunate attempt or heavy prompting.
Musical communication
The learner can shape phrases, convey style and recover from small slips without losing the whole performance.
Supporting skills
Practical candidates can sustain technical, sight-reading and aural work alongside their prepared pieces.
Programme continuity
Performance candidates can deliver all four pieces with suitable transitions and consistent control in one run.
Independent response
The learner understands feedback and can apply a correction without the tutor directing every repetition.
Event logistics
Instrument, music, accompaniment, venue or recording arrangements have been rehearsed as part of the complete task.

Exam entry and Performance Grade recording responsibilities

The applicant and candidate remain responsible for following ABRSM’s current specification and exam regulations. A tutor can help interpret the preparation task and rehearse the logistics, but the tutor is not automatically the person who books the exam, acts as the responsible adult or attends an assessment.

For Performance Grade, the candidate or applicant organises a suitable venue, instrument and recording equipment. The four-piece programme is captured in one continuous, unpaused take. Wrong repertoire, an invalid programme or a recording that does not meet the rules can lead to warnings, mark deductions or disqualification, so compliance belongs in preparation rather than at the final upload.

  • Use the instrument specification and exam-format rules that apply at the point of entry.
  • Keep a written responsibility list for application, accompaniment, equipment and submission.
  • Practise the real setup rather than assuming lesson-room performance will transfer automatically.
  • Leave space for a fresh full run if a rehearsal reveals programme, stamina or recording problems.
  • Treat the tutor as a preparation adviser unless another exam-day role has been agreed explicitly.
Exam application
Agree explicitly who will submit the entry and keep the candidate details, instrument, grade and format aligned.
Repertoire
Use music that is valid for the chosen instrument, grade and exam format, including an acceptable own-choice piece where required.
Accompaniment
Arrange any accompanist, backing track or instrument-specific requirement early enough for complete rehearsals.
Recording venue
Choose a space, instrument position and camera view that meet the Performance Grade guidance and show the complete performance clearly.
Continuous take
Rehearse the whole four-piece programme without pausing, editing or restarting between pieces.
Adult oversight
For a candidate under 18, an adult aged 18 or over oversees the recording; that adult may be a parent, applicant or teacher.
Final submission
Review the required declarations, file and programme information before the applicant submits the recording.

Online lessons for an instrument-based exam

Latimer’s standard delivery model is online one-to-one tuition. That can work well for Grade 2 when the lesson setup lets the tutor hear musical detail, see relevant technique and share scores or notes efficiently. The first sessions should test the setup instead of assuming the same camera and microphone position will suit every instrument.

Microsoft Teams is the default lesson platform, while tutor and learner can agree Google Meet, Zoom or another suitable method. If the family wants a different delivery arrangement, that is a separate conversation with the tutor. The teaching brief should still name the instrument, route and assessment priorities wherever the lesson takes place.

  • Position the camera so the tutor can see the technique relevant to the instrument, not only the learner’s face.
  • Test whether dynamics, articulation and balance are clear enough for useful feedback.
  • Keep the score, syllabus and lesson notes easy to share on screen or send securely.
  • Agree how the tutor will demonstrate passages and how the learner will replay or annotate feedback.
  • Use short recordings between lessons when a live call cannot reveal a sound or continuity issue clearly.
  • For Performance Grade, rehearse with the actual recording device and room before the final programme run.
  • For accompanied music, agree how the accompanist or backing material will be included in lessons and mocks.
Visual setup
A useful angle shows posture, hands, embouchure, bowing or other technique that affects the chosen instrument.
Audio setup
The tutor needs enough sound detail to discuss tone, rhythm, balance and musical shape.
Shared materials
Both sides should use the same current score editions, syllabus details and annotations.
Lesson record
A concise note after the session can identify the next tasks and the evidence to bring back.
Mock format
Complete runs should resemble the intended Practical room or Performance recording conditions as closely as useful.

Price and value without a lesson package

Individual Latimer tutors set their own lesson prices, which are displayed on their profiles. Latimer’s standard billing model is pay as you go after lessons rather than a required long-term package or fixed contract. That makes it possible to compare the teaching brief, lesson approach and price together before deciding.

Requesting a tutor match is free. Tutors also offer a free introductory meeting to discuss goals, support, lesson format and fit before paid lessons begin. The meeting is not normally a full teaching lesson. Its value is in clarifying whether the tutor understands the instrument, route and practical preparation task.

  • Bring a clear preparation brief so profile and introductory conversations can stay specific.
  • Ask what lesson materials, feedback and between-lesson tasks are included in the teaching approach.
  • Compare the same exam route and support scope when considering different tutors.
  • Review the arrangement after an agreed preparation milestone rather than buying a large block in advance.
Lesson price
Compare the price shown on each tutor profile alongside instrument experience, exam-format fit and the proposed lesson approach.
Billing
Standard lessons are invoiced after they take place on a pay-as-you-go basis.
Package commitment
The standard model does not require a long-term lesson bundle or fixed contract.
Matching request
You can send Latimer the instrument, grade, route, starting point and priorities without a matching fee.
Introductory meeting
Use the free conversation to discuss goals, teaching approach and arrangements before booking paid lessons.
Preparation scope
Ask whether the proposed tuition covers every assessed component, mock work and any exam-format logistics.
Value decision
Choose the tutor whose plan is understandable, instrument-specific and workable between lessons, not simply the lowest headline price.

From enquiry to a Grade 2 working brief

The quickest route to a useful conversation is a precise brief. State the instrument, chosen or possible exam format, current playing standard, intended outcome and practical constraints. Latimer can use those details in a free matching request, while the tutor profiles provide another route for comparing teaching approaches directly.

The introductory meeting should narrow the decision. If the fit is right, the first paid lesson can establish a baseline and produce a working plan. That plan should name components, immediate priorities, practice tasks and the next readiness review rather than offering a generic Grade 2 timetable.

  • Include the exact instrument and grade in the first message.
  • Say whether repertoire has already been chosen and which syllabus it comes from.
  • Mention access, equipment or accompaniment matters that affect lesson design.
  • Bring one recent recording or complete performance if it will help establish the baseline.

  1. Define the goal

    Name the instrument, Practical or Performance route, intended exam window and any broader musicianship aims.

  2. Describe the baseline

    Share recent pieces, technical work, reading or listening experience and any recurring difficulty.

  3. Compare approaches

    Use profiles or a matching request to examine instrument experience, teaching method and format knowledge.

  4. Use the introduction

    Discuss goals, communication, lesson setup and what the tutor would assess first.

  5. Complete a baseline lesson

    Sample the relevant components and identify a short list of priorities linked to the syllabus.

  6. Agree the working plan

    Set component work, home tasks, review points and responsibilities for exam logistics.

Start an ABRSM matching request

Reasonable adjustments start before booking

ABRSM provides access arrangements and reasonable adjustments for candidates with specific needs while retaining the usual assessment standard. The option and any supporting information are governed by ABRSM’s guidance and can differ by need and exam format. A tutor can help the learner prepare in their usual way of working, but ABRSM decides the assessment arrangement.

Raise access considerations early enough for teaching, home practice and the application process to align. Tutor matching should focus on communication, adaptable materials and a practical routine, while the applicant remains responsible for arranging any ABRSM option and supporting information before the booking.

  • Choose a tutor who can explain tasks in more than one way.
  • Keep assessment standards separate from the method used to access the task.
  • Rehearse any agreed exam arrangement during complete mocks.
  • Record responsibilities for the learner, tutor and applicant clearly.
  • Revisit the plan if the chosen Practical or Performance format changes.
Early conversation
Explain the learner’s usual way of working and which parts of music study or assessment create a barrier.
Teaching materials
Agree notation, formatting, demonstration and feedback methods that make the lesson task usable.
Practice design
Break work into clear actions and choose prompts or recordings that support independent practice.
ABRSM guidance
Use the access guidance for the chosen exam format before the applicant makes the booking.
Supporting information
Allow time for the applicant to gather any information required for the requested arrangement.
Recording supervision
For an under-18 Performance candidate, identify the adult who will oversee the final recording.

Choose the Grade 2 route that serves the musical goal

Grade 2 can be an exam target, a checkpoint in wider instrumental study or a foundation for the next stage. Practical Grade builds a broad musicianship mixture through prepared performance, technique, unseen reading and listening. Performance Grade develops interpretation, communication and the delivery of a complete programme.

Neither route is universally better. The useful question is which assessment encourages the skills the learner wants to build now. A tutor can connect the immediate Grade 2 plan with future repertoire, stronger independent practice or a later grade without rushing past the standard required at this stage.

  • Choose Practical when broad technical, reading and listening development fits the goal.
  • Choose Performance when sustained programme preparation and musical communication are the priority.
  • Keep non-exam repertoire in the plan when it supports technique, motivation or musical range.
  • Use Grade 2 marking language to strengthen self-review beyond the exam pieces.
  • Discuss the next stage only after the current component foundations are secure.
  • Ask for a tutor brief that joins exam preparation with the learner’s wider musical interests.
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Support and clarity

Frequently asked questions

Straight answers to the questions people ask most often.

Is Grade 1 required before ABRSM Grade 2?

No. ABRSM allows entry at Grade 2 without passing Grade 1 first, and candidates may enter at any age. The practical question is whether the learner has the instrument-specific foundation for the chosen syllabus. A tutor can sample current playing and identify any technique, reading or listening foundations that need attention before an exam plan is set.

Which instruments does this ABRSM Grade 2 page cover?

This page covers the general decision about one-to-one ABRSM Grade 2 tuition. It does not replace an instrument syllabus. Repertoire, technical work, accompaniment, exam length and permitted instruments can differ, so the brief should state the exact instrument and use the subject specification that applies to the selected Practical or Performance entry.

What should I recheck if the learner changes Grade 2 route?

If the intended route changes before entry, rebuild the working plan rather than carrying over the same readiness judgement. Recheck repertoire, assessed components, mock format and logistics against the learner’s instrument syllabus. The Piano Practical example follows the 2025–2026 syllabus, and the generic Performance specification is valid from 2025.

How is ABRSM Grade 2 marked?

The ABRSM Piano Practical syllabus for 2025–2026 and the generic Performance specification valid from 2025 both use 150 marks. A total of 100 to 119 is Pass, 120 to 129 is Merit and 130 to 150 is Distinction. Candidates do not have to pass each component separately, although a weak component can still reduce the total and expose an important preparation gap.

How long does ABRSM Grade 2 preparation take?

ABRSM estimates 18 guided learning hours and 90 total qualification hours for Grade 2, but describes these as qualification-size guidance rather than a lesson prescription. Preparation length should be set after a baseline assessment of the instrument, chosen exam route and intended timing. Use component evidence and complete mocks instead of converting the published hours into a fixed number of weeks.

What should I ask an ABRSM Grade 2 tutor?

Ask about experience with the learner’s instrument and chosen exam format, how the tutor uses the current syllabus, what they would assess first and how feedback will be linked to ABRSM criteria. Also discuss home-practice design, mock exams, access considerations, accompaniment or recording responsibilities, and how progress will be explained between review points.

Does the tutor have to supervise a Performance Grade recording?

Not necessarily. When a Performance Grade candidate is under 18, an adult aged 18 or over must oversee the recording, but that person may be the applicant, teacher or parent/carer. Agree any tutor involvement separately instead of assuming supervision or exam-day attendance is included with tuition.

Can tuition support ABRSM access arrangements?

Yes, tuition can adapt explanations, materials and practice to the learner’s usual way of working. ABRSM provides access arrangements and reasonable adjustments while keeping the assessment standard. The applicant should use the guidance for the selected exam format and allow time for any supporting information; the tutor cannot decide the arrangement on ABRSM’s behalf.

Do online Grade 2 lessons need specialist audio equipment?

Choose the lesson setup by what the tutor needs to hear and see for that instrument, rather than by a universal equipment list. Test the available device, camera and microphone first. A final Performance Grade recording is a separate task and must meet the specification in force when the entry is made.

Does a tutor’s lesson price include exam fees, music or accompaniment?

Do not assume that it does. A Latimer profile shows the tutor-set lesson rate, and standard lessons are billed pay as you go. Confirm exam entry, scores, accompaniment and recording costs separately before booking, because they are not stated as part of the tutor’s lesson price here.

What happens before paid lessons begin?

You can browse tutor profiles or send Latimer a free matching request with the instrument, grade, route, starting point and priorities. A tutor then offers a free introductory meeting to discuss goals, teaching approach and arrangements. It is normally not a full teaching lesson. If both sides want to continue, the first paid lesson can establish the baseline and working plan.

Further information

Useful links and resources

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