What are the (academic and Professional) qualifications and experience required to enter the profession?
The profession I chose for this assignment is ‘Instrumental Tutor’. When I reached out to a local music service, they provided me with the job criteria for the position I am researching [appendix 1]. It listed three main qualifications: ABRSM (or equivalent) Grade 8+ standard, a music performance diploma or a music degree, and evidence of Continuous Professional Development. ABRSM (Associated Board of the Royal Schools of Music) details that to take the exam for Grade 8 that ‘you must have passed at least grade 5 on that instrument’ and ‘you must have passed a grade 5 (or higher) musical theory test’ [ABRSM, 2024]. The exam consists of three pieces ( the players choice from a set repertoire), grade 8 standard scales and all relevant arpeggios, a sight read piece, and aural examinations [ABRSM, 2023]. As for a music degree, an assortment of different music-specialised and normal universities offer a form of music degree or performance diploma. A perfect example is the BA(Hons) Classical Music Course) at Leeds Conservatoire. This is a three year course, where through the teachings of instrument specialism, both solo and ensemble, you will be able to develop your technical ability and instrumental knowledge. Additionally, you will also further your musical theory knowledge and understanding of historical music and its themes, all of this culminating in a well rounded musical education [Leeds Conservatoire, 2024]. The final requirement was Continuous Professional Development. it is defined as ‘ an ongoing process of frequently improving skills and competencies to enhance workplace performance’ [Cpd.co.uk, 2025]. It can be broken down into three main categories:
Type 1, Structure CPD/Active learning, requires the person to partake in interactive and often participation based study, this is commonly achieved through attending workshops, seminars, conferences, CPD certified events (ETC.).
Type 2, reflective CPD/Passive Learning, described as ‘learning that often has a structure based format but requires no participate-based interaction’ [Cpd.co.uk, 2025], however it can be argued that this approach is ‘one directional’.
Type 3, Informal CPD/Self-directed learning, refers to all unmonitored and unaccompanied forms of learning, the upsides of this is that there is no definitive time frame allowing it to vary based upon the needs of the individual. Examples for this would be: ‘Discussions in related forums, reading of books or articles, industry specific news’- all of it falling under ‘research in relative fields’ [Cpd.co.uk, 2025].
What Knowledge, Skills, and Professional Qualities/Attributes are needed for success within the profession?
The main skills that are expected of you when entering a position of this nature are particularly diverse. You are expected to” provide tuition on the full range of an instrument family” [Appendix 1], for me this would mean being able to tutor students on instruments such as: Euphonium, Tenor horn, Tuba, Baritone and Flugel. This would apply to both one-on-one tuition all lessons and to group lessons; during these lessons I would need to be able to use effective communication skills to pupils across a variety of ages to help them stay engaged with their studies and patience when dealing with difficult students. The main knowledge that is required is: “understanding of the relevant National Curriculum, understanding of music technology to enhance music tuition and knowledge of appropriate schemes of work, repertoire, examination , syllabus, long, medium and short planning and lesson management” [Appendix 1]. Having the ability to lead and direct musical ensembles, this was not described as essential but would increase my chance of getting the job. [Appendix 1]. This is alongside the ability to “perform and sight read music at a high level (minimum grade 8) on at least one instrument”, a skill that I aim to continue to cultivate during my time at the conservatoire. It is also expected that any Tutor is able to use Computer software at a basic level for example: ‘accessing the internet, emails, word processing’ ETC [Appendix 1].
What are the duties and responsibilities of the profession? What does a Typical day’s work involve ?
There are a range of different duties and responsibilities:
– ‘Build and maintain excellent collaborative working relationships with students, partners, schools, and parents’ [Appendix 1]
-‘To provide high quality tuition, assessment and preparation for examination on the post holder’s main instrument and relevant family of instruments’ [Appendix 1]
-‘To provide written reports to managers, schools and parents on an annual basis or when required’ [Appendix 1]
-‘To be responsible for the stock of loan instruments, including routine maintenance’ [Appendix 1]
-‘To promote to all stakeholders the full range of opportunities available for children and young people through the music service’ [Appendix 1]
-‘To take on the responsibility for their own health, safety, and wellbeing at work and that of pupils parents and colleagues in accordance with music service policies’ [Appendix 1]
To find out about a typical day at as an instrumental tutor, I reached out and emailed an old tutor of mine to ask for some insight. The majority of the day is made up of tutoring, this varies from ‘Ensemble work ‘ in Primary Schools often ranging from ‘year 3- year 5’. As they start at quite a young age, the starting aim is to ‘establish familiarity with the instrument’, to start ‘building them a little range, usually from a C-G’, and for students who advance quicker to start ‘developing their tone’ [Appendix 2]. From here they could move on to tutoring high school students, ‘grades range here’[Appendix 2], the main goals for these students is to push them into more ensemble work to ‘develop their ensemble ability’ and push them out of their comfort zone. Alongside this, he mentions that he often takes part in ‘Online lessons’, which I assume have made a surge in popularity after Covid. These lessons are ‘one on one’ and usually last for around ‘half an hour to an hour’ with a wide range of ages [Appendix 2]. Whilst balancing all of this, it is vital to make sure that you ‘keep practicing and keeping your lip in’ as brass players embouchure needs to be maintained [Appendix 2].
What Career Progression/development opportunities are available within the profession?
As there is expectation of Continuous Professional Development, you can access an assortment of courses that are designed to enhance your knowledge and skills when it comes to your instrument ( and it’s family) and allow that to further develop your teaching style so that it is more effective and allows you to be more equip when dealing with a variety of students. For my research I looked at three main courses:
ABRSM: Becoming a Music Teacher
A course ‘designed for instrumentalists and vocals who are starting their teaching careers’, the course offers its users and ‘overview of the roles and responsibilities of being a music teacher’ and you will have the opportunity to hear experiences from other teachers to see how they have used their ‘passion for music as inspiration for teaching skills’. [Cpd.co.uk (a), 2025]
ABRSM: Assessing Progression in Classroom music
With the help of the Royal Northern College of music and teachers, they have created a ‘learning experience relevant to music making’. The aim of this course is to give you the ‘knowledge and skills you need to start planning and assessing progression with confidence and be able to inspire the next generation of musicians’. [Cpd.co.uk (b), 2025]
Annual Certificate in Child Protection and Safeguarding, Music
It is stated that ‘ all staff including private/visiting tutors and music educational professionals must understand and comply with child protection and safeguarding measures’, which I didn’t know before researching this. The course’s aim is to give you the ‘skills and knowledge to understand your child protection and safeguarding duties’. [Cpd.co.uk (c), 2025]
What are the main financial and legal issues that impact this position?
Safeguarding is a system to’ protect children from harm, abuse, and neglect’ , this process is important because it educates tutors on the ‘risks children may face and what to do if concerns arise’. Some vital safeguarding practices are: ‘Maintaining professional boundaries, Creating a safe learning environment, and recognising signs of abuse. In the event you suspect a child is potentially at risk, you must: Document your concerns, speak to a dedicated safeguarding officer, and report to the local authorities if needed. [Goldthorpe, J. 2025]
Insurance is vital for instrumental tutors, especially when you’re working with the public and children. It protects us from the legal and financial issues that occur when things go wrong, examples:
Business Interruption Insurance
‘This covers loss of income in the event they cannot work due to a covered event (like a fire or flood).’ [Sabbagh, A. 2023]
General Liability Insurance
‘This covers the instructor’s legal liability if the student is injured during a lesson or recital, or damage to the instructor’s property or equipment.’[Sabbagh, A. 2023]
Workers’ Compensation Insurance
‘This covers the instructor’s medical expenses and lost wages if they are injured on the job.’[Sabbagh, A. 2023]
Taxes
If I were to become a self employed musician instead of through a music hub, I would be responsible for my tax returns, if my ‘total taxable income is above the higher rate threshold and if I had another source of income’ [Musician’s Union, 2023]. To pay the tax, you must first tell the ‘local tax and social security offices’ that you are a self employed business, ‘failure to do so incurs a penalty’. You must ‘report your annual total income to the tax office and then the HMRC will send you a tax return to fill out and pay at the end of the year’[Musician’s Union, 2023].
What would potential Marketing and Promotional aspects of this Profession look like?
As a solo tutor, the best way to start marketing yourself is to build a brand, something that shows people your passion for music and your enthusiasm for teaching. Allow yourself to ‘stand out from the crowd and be okay with being imperfect’, this type of image presents you as human and helps you to appear more grounded to your potential clientele [Musician’s Union, 2022]. I believe the most effective method of self promotion would be ‘word of mouth’. By ‘ encouraging satisfied students to share their experiences ‘ can lead to an increase in clientele as recommendations can easily be spread digitally or verbally [Bram A, 2024].
What are the intellectual and personal challenges presented by the profession and how might it be dealt with?
Motivating Students- A very common experience that tutors have is that they get students who started learning per their parents wishes, this leads the student to be rather disinterested in the topic and it is then upon the tutor to ‘find ways to make music learning more engaging for them’. [ Music Jotter, 2018]. A way that I would deal with this issue would be to tailor my lesson to the student, I would encourage them to find music that they would want to learn instead of forcing them to learn what is ‘expected’ as passion for what you’re learning makes it more enjoyable.
Feeling Underprepared and overwhelmed – According to Andrea Oram ‘ statistics indicate that a mere 19.8% of music teachers feel moderately well prepared for their job’. [Orem, A 2025]. To resolve this issue I would, consistently refer to my colleagues for guidance or help, especially if I found myself faced with an issue I’m unsure of how to deal with.
Burnout – The one problem about the ‘ cumulative effect of these challenges’ is that it leads to a recorded ‘45.5%’ of tutors considering changing professions; this was due to the exceed amount of expectation and demands made of the tutor. [Orem, A 2025]. I think the easiest way to deal with this issue would be to make sure I’m managing my time correctly and making sure to find ways to cut down my workload in places so that it isn’t so heavy upon me.
Bibliography
Bram, A. (2024). Word-of Mouth-Marketing for Private Music Teachers. [online] MusicTeacherNotes. Available at: https://www.musicteachernotes.com/articles/word-of-mouth-marketing-for-private-music-teachers/ [Accessed 16 Dec. 2025].
ABRSM (2024). About Performance Grades. [online] ABRSM. Available at: https://www.abrsm.org/en-gb/performance-grades/about-performance-grades [Accessed 24 Nov. 2025].
ABRSM (2023). Trumpet/Cornet/Flugelhorn. [online] ABRSM. Available at: https://www.abrsm.org/en-gb/instruments/brass/trumpetcornetflugelhorn [Accessed 24 Nov. 2025].
Orem, A. (2025). The Struggles of Music Teachers: Unveiling the Urgency for Change. [online] Andreaorem.com. Available at: https://andreaorem.com/blog/45600/the-struggles-of-music-teachers-unveiling-the-urgency-for-change [Accessed 16 Dec. 2025].
Cpd.co.uk (c) (2025). Annual Certificate in Child Protection and Safeguarding, Music – Courses | The CPD Certification Service. [online] Cpduk.co.uk. Available at: https://www.cpduk.co.uk/courses/the-national-education-group-annual-certificate-in-child-protection-and-safeguarding-music [Accessed 1 Dec. 2025].
Cpd.co.uk (b) (2025). Assessing Progression in Classroom Music – Courses | The CPD Certification Service. [online] Cpduk.co.uk. Available at: https://www.cpduk.co.uk/courses/abrsm-assessing-progression-in-classroom-music [Accessed 1 Dec. 2025].
Cpduk.co.uk (a) (2025). Becoming a Music Teacher – Courses | The CPD Certification Service. [online] Available at: https://www.cpduk.co.uk/courses/abrsm-becoming-a-music-teacher [Accessed 1 Dec. 2025].
Cpd.co.uk (2025). What Is Continuing Professional Development (CPD)? [online] Cpduk.co.uk. Available at: https://www.cpduk.co.uk/explained [Accessed 24 Nov. 2025].
Goldthorpe, J. (2025). Safeguarding for Tutors: What You Need to Know – The Tutors’ Association. [online] The Tutors’ Association -. Available at: https://thetutorsassociation.org.uk/2025/03/04/safeguarding-for-tutors-what-you-need-to-know/ [Accessed 1 Dec. 2025].
Leeds Conservatoire (2024). BA (Hons) Classical Music. [online] Leeds Conservatoire. Available at: https://www.leedsconservatoire.ac.uk/courses/undergraduate-courses/ba-hons-classical-music/ [Accessed 24 Nov. 2025].
Musician’s Union (2022). Promote Your Teaching Practice with a Clear Brand Story. [online] Musiciansunion.org.uk. Available at: https://musiciansunion.org.uk/news/promote-your-teaching-practice-with-a-clear-brand-story [Accessed 16 Dec. 2025].
Musicians’ Union (2023). UK Musicians Tax Guide For The Self Employed | Musicians’ Union. [online] musiciansunion.org.uk. Available at: https://musiciansunion.org.uk/legal-money/finance-and-tax/tax-advice-and-guidance-for-musicians [Accessed 1 Dec. 2025].
Music Jotter (2018). Common Challenges Faced By Music Teachers. [online] Music Jotter. Available at: https://www.musicjotter.com/blog/1590/common-challenges-faced-by-music-teachers/ [Accessed 16 Dec. 2025].
Sabbagh, A. (2023). Risk Management for Instrumental Music Teachers – TopMusic.co. [online] TopMusic.co. Available at: https://topmusic.co/risk-management-for-instrumental-music-teachers/ [Accessed 1 Dec. 2025].
Appendixes
Appendix 1
Appendix 2
[Transcript]
‘No day is the same and some days are busier than others. Typically, I guess, I am usually up and then straight to a school, where there will be some kind of, either I’ll be straight into a whole class, where there is like 25-30 kids usually year 3-5 doing an hour with them looking at notation and playing, because it’s term one, looking at playing C D E F G, getting them making a decent sound at least through the mouth piece. Just kind of aiming for the end of the term to get them to play a piece, 5-6 notes, starting to understanding rhythms and reading sheet music. Maybe 2-4 hours of that a day, and then kind of amidst that some small group private lessons, ranging from absolute beginners, right up to people like yourself doing auditions for university and grade 8, and everything in-between. That goes into individual lessons as well. Obviously, you also know that I do intermediate band on a Tuesdays, an hour of taking them through, building a concert program and building their confidence. And then outside of Barnsley Music Service, there’s a couple days where I do some online teaching, which is quite fun. So that just usually involves a one to one and that can be anywhere from half an hour to an hour, any standard. Any age as well so it can be like people in primary school and could be like people being in their 60-70s and from different countries, I love doing the online stuff. On top of that its just a case of keeping practicing and keeping my lip in, band rehearsal at least twice a week, four time especially if there’s a contest. Massively time consuming learning the parts and getting them memorised whilst also practicing for solo concerts and recordings and other projects.’ – Tom Smith, TomSmith1@barnsley.go.uk
