Find a Grade 7 Music Theory tutor

ABRSM and Trinity assess written musical understanding, but their tasks differ. Tell a prospective tutor which board you follow and show them a recent attempt. If you have not chosen a board, compare the writing tasks and exam format before buying materials.

Figured bass uses numbers to indicate harmony above a bass line. A suspension carries a note into the next harmony before resolving it; the example below shows how that works.

Before tackling a longer Grade 7 passage, check that the learner can explain the harmony in a single chord. This original teaching example uses C major.

Start with F in the bass and A, C and D above it. Calling it “F major” leaves the D unexplained. Reorder the notes in thirds: D–F–A–C. D is the root, F the third, A the fifth and C the seventh. It is a D minor seventh chord, built on the second degree of C major, also called the supertonic.

F is the lowest note, so the chord is in first inversion. Its usual figured-bass abbreviation is 6/5: above F, A is a third, C a fifth and D a sixth. The root remains D when the notes change position.

Now move towards G–B–D, the dominant harmony. The chordal seventh C can resolve down to B. Count that seventh from the root D, even though F is in the bass. This isolates one harmonic decision; a complete four-part answer also needs checks on how every part moves.

Try it in G major: use A–C–E–G with C lowest. A is now the root and G the seventh; the chord is again in first inversion. Moving G down to F-sharp leads into D–F-sharp–A. Improvement means explaining both versions without copying the first answer.

Both boards require applying suspensions at Grade 7. This original fragment shows one suspension, which can then be used within a longer passage or sequence.

1. Prepare: sound C as part of C-major harmony.
2. Hold: tie that C into a strong beat as the harmony changes to a G bass. C now forms a fourth above G: count G–A–B–C.
3. Resolve: move C down to B while G stays in the bass. G–A–B is a third, giving a 4–3 suspension.

Placing an unexplained C over G and calling it “a wrong note” misses the point. Here it has a preparation, a moment of tension and a downward resolution. The tie makes the held note clear in this example.

For a fresh attempt, start in G-major harmony, hold G over a change to D bass, then resolve to F-sharp. Identify the preparation and count the fourth and third again. The useful check is whether the learner can explain all three stages.

Latimer provides online one-to-one tuition. Microsoft Teams is the default platform; you and the tutor can agree another. In-person lessons require an individual arrangement.

Before the first lesson, check that both sides can read the notes, accidentals and small bass figures clearly. Agree whether to share a scan or photograph of handwritten work, use a document camera, or work on notation onscreen. Keep the original attempt and the corrected version so feedback can refer to the same bar. A keyboard or another instrument can help you hear a harmony, if available.

Each tutor sets their hourly rate, shown on their profile, and Latimer bills lessons on a pay-as-you-go basis. Agree lesson length and frequency with the tutor. Confirm separately the cost of books, exam entry and any marking outside lessons. For value, look at whether the learner can explain and repeat the work independently; completing more worksheets is not the only useful measure.

For exam preparation, name the board and describe a difficult task: figuring a bass, shaping a melody, completing a sequence or reading a score. Include the intended exam date if you have one. A matching request is free.

If you are studying for your own musicianship, choose a concrete goal such as explaining the harmony in a piece you play or writing a phrase that follows a chord progression. You can discuss Grade 7 material without making an exam date the centre of the plan. For support with a school Music course as well, use the separate GCSE or A-level tuition pages.