Find a Grade 2 piano tutor

The board and exam format determine which skills are assessed separately. Tell your tutor which entry you are considering, or bring the book you already use if you are unsure. These are distinct options; an online lesson does not determine which exam you take.

ABRSM Grade 2 sight-reading introduces hands together and tied notes within the five-finger positions. A tie joins two notes of the same pitch: hold the key instead of playing the second note again.

Here is a small practice example in 4/4, meaning four crotchet beats in a bar. A right-hand E on beat 4 is tied to another E on beat 1 of the next bar. Count “4, 1” while holding E; release it for the next right-hand note on beat 2. If the left hand has a G on beat 1, play that G while the right hand stays down. The mistake to avoid is striking E again just because the left hand moves or a new bar begins.

Once the coordination is clear, try a fresh short passage. Repeating the same exercise develops the skill, but it is no longer unseen reading. Preview the key, starting positions and pulse before playing.

For ABRSM aural preparation, include clapping a pulse in two or three time and singing back short phrases. Trinity’s aural tests do not require singing; prepare the supporting tests actually chosen for a Trinity face-to-face entry.

Getting the notes right is only part of playing a piece. ABRSM’s Performance guidance for Initial to Grade 3 includes distinguishing the musical roles of the parts and balancing a simple texture: hearing the tune clearly above its accompaniment.

For a simple illustration, play right-hand C–D–E–G, one note per beat, over a lower left-hand C held for all four beats. If the bass covers the start of the tune, listen to the right hand alone, then add a quieter left-hand C without shortening its four-beat length. A better result keeps the tune audible and the beat steady. Apply that listening question to a short passage in your own piece: which hand should the listener follow?

For ABRSM Performance Grade 2, also rehearse the joins between the four pieces. Try the ending of one piece followed by the opening of the next, taking time to settle the new tempo. Then practise a complete run in one continuous take, carrying on after a small slip. Listen afterwards for changes in balance, pulse or concentration near the end. Natural time between pieces is different from stopping the recording.

These listening and coordination tasks also give lessons a focus when an exam is not the immediate goal. Choose repertoire you want to play and use the same checks to make the musical result more deliberate.

Look for a teaching approach that fits the learner and the intended board or playing goal. Ask how the tutor would assess a passage that works hands separately but breaks down with both hands, and how they would turn that diagnosis into a manageable practice task. Discuss their experience with the particular exam route rather than assuming it from a general piano profile.

Latimer offers a free matching request. Include the board and route if known, a current piece, the main difficulty, your budget and suitable lesson times. The free introductory meeting is a chance to discuss fit, goals and arrangements before paid lessons; it is normally a conversation rather than a full teaching lesson.

Each tutor sets the hourly rate shown on their profile. Latimer invoices after lessons on a pay-as-you-go basis. Agree the lesson length and what preparation or feedback is included, then confirm any separate costs for scores and exam entry.

For a child who needs one instruction at a time, request a short written task and a demonstration before independent practice. Adult learners can make the brief equally specific, including previous playing experience and music they want to learn. Discuss any learning or access needs early. If exam arrangements are needed, contact the chosen board before booking; teaching adaptations and the board’s assessment arrangements are separate decisions.