Find a Grade 3 piano tutor

The ABRSM Piano Practical syllabus for 2025–2026 includes D major scales over two octaves, hands together, from memory. The notes are D–E–F♯–G–A–B–C♯–D, repeated into the next octave before descending. Knowing the two sharps is only part of the task: both hands need to keep an even sound and pulse through their finger changes.

Here is a practice example. Suppose the right hand pauses between F♯ and G when the thumb moves underneath. With the tutor’s agreed fingering, play E–F♯–G–A slowly in the right hand alone. Listen for four evenly spaced notes, with no extra accent on G. Repeat that small group, then put it back into the full scale before adding the left hand at a manageable speed.

A useful improvement is that the listener can no longer hear where the thumb moved. Playing the passage faster while keeping the same gap has not solved the problem. This is an illustrative practice task, not a substitute for the complete scale and arpeggio requirements of the chosen board.

ABRSM Grade 3 piano sight-reading can introduce 3/8 time, simple semiquavers, two-note chords and movement beyond a five-finger position. Preparation should include unfamiliar short music so reading does not become another memory exercise. The following are constructed practice examples, not exam questions.

For the Performance route, a piece-by-piece run-through can hide a problem that appears only in the complete programme. Try this practice scenario: a brisk dance is followed by a slower, singing melody. The first piece goes well, but the second begins at the dance’s pace because the player has carried that pulse straight across.

Practise the final two bars of the first piece, release its last sound, then silently establish the second piece’s opening pulse before playing its first phrase. Listen for a settled start at the intended speed and volume. Next, include the transition in an uninterrupted programme run so the learner can maintain that control without stopping for a tutor’s prompt.

This is a suggested rehearsal task, not a prescribed exam sequence. It develops the continuity needed for a complete performance without encouraging the learner to rush from one piece into the next.

Agree lesson frequency around the learner’s starting point, attention and access to a piano. Between lessons, a short task with a clear listening target gives the learner something to repeat accurately. This example cycle can be adapted to the chosen exam route or to learning without an exam.

Use the free introductory meeting to discuss the learner’s goals, the tutor’s approach and lesson arrangements. It is a conversation before paid lessons, rather than a full free teaching lesson. Describe a real difficulty, such as the left hand covering the tune or losing the beat at a hand-position change. Ask what the tutor would listen for first and how they would break that difficulty into manageable practice.

For a child, agree a task the child can explain back in their own words, so a parent can help them remember it without having to teach piano. For an adult returning after a break, discuss comfortable repertoire and rusty reading separately. Mention any need for larger notation, slower demonstrations or fewer instructions at once; agree the adaptation with the individual tutor.

Latimer’s service is online-first and one-to-one. Before the first lesson, place the camera where the tutor can see both hands and the keyboard, and test whether quiet and loud playing can both be heard clearly. Keep the score within reach and have the relevant edition ready to identify. A brief test with the tutor is more useful than buying extra equipment before you know what is needed.

Microsoft Teams is the default lesson platform; another platform can be agreed with the tutor. If you need in-person tuition, discuss that arrangement individually. Tell the tutor what instrument you have and when it is accessible between lessons, since the home-practice plan needs to be possible on that instrument.