In association with
Mr Peter Hunt
Mr Peter Hunt

Musicians Union Logo
BMus(hons) in Popular Music Performance
RSL Level 6 Diploma in Music Teaching
EduCare Child Protection Certificate
Instruments: Bass Guitar
Double Bass
Genre/Style(s): All contemporary genres including (but not limited to) jazz and orchestral
Ability Levels: Beginners to Advanced



Pete is a qualified music teacher and professional musician based in Kingston and the surrounding boroughs. With a background in theatre, performing in show bands, orchestras, jazz ensembles and other contemporary backgrounds, he began performing live at the age of 9 with the Peterborough Youth Ensemble and had already started performing at wedding ceremonies professionally.

Now providing electric bass and double bass as his first call, the multi-instrumentalist has performed and recorded at venues such as The Cadogan Hall, Henry Wood Hall and Ronnie Scott’s Jazz Club with world-class musicians; including the likes of James Woodrow (Icebreaker, BBC Symphony Orchestra, Michael Nyman), Audrey Riley (Coldplay, Muse, John Cage, The Smiths), Gizz (The Prodigy) and Kenny Martyn.
Pete has a natural flair in his performances and is in much demand; you may have caught him at your local arena or festival supporting contemporary musical acts, such as Myleene Klass, La Voix and Katherine Jenkins. Pete has also been fortunate enough to work with the internationally acclaimed composer Gavin Bryars, performing and recording his world premier of "Language is a Virus From Outer Space" at the Queen Elizabeth Hall when he was just 19. He has also been a resident double bass player at the Grosvenor House Hotel.

Today and tomorrow, alongside ceaseless musical and general exploration, Pete is now performing in "The Woman In White" at the Charing Cross Theatre. In addition to this, Pete composes, works in various show bands, function bands and holds the bass chair for "Feeling Good" - the Michael Bublé show. He has also performed with pop artist, Will Mussett.

Tutoring Experience:

I have over 8 years of teaching experience. This involves teaching young and more mature students in between my own musical studies at music college. I also have a level 6 teaching licentiate.

Tutoring Approach:

Learning a musical instrument can be a very personal experience. I recognise that all students have different ambitions and learn in different ways, so it is my job to recognise these and encourage them in order to help my students grow.

If I am meeting a new student for the first time, I like to ask them about their interests in both musical and non-musically terms in order to find out what type of learner they are. I can then use this to an advantage, helping them to achieve their goals in a fun, appropriate and most beneficial way to meet his/her requirements.

Some of the things I can help my students to learn include;

Learning all contemporary genres, technique, improvising, sight reading, songwriting, arranging and composition, applied harmony and theory, Rockschool & ABRSM grades, GCSE & A level guidance, sound advice and general musicianship, or maybe they wanted to learn a new song for fun.

I like to structure my lessons in a way that covers at least 2 or 3 of these areas. This way, we can keep improving the student's musicianship in a range of areas without the brain getting too tired. It will also help to keep thing's interesting for younger students to help keep them focused. I will also incorporate this in the students homework.

For my more advance students, or students that struggle to find time to practice; I like to recommend the Pomodoro technique to help them organise their time more effectively.

If a student decides to go down the examination route, I can help guide them through this journey. However, whilst this can be a beneficial route for many, I strongly feel that there is a lot more to music than just passing an exam. I will therefore continue to share my thoughts and advice alongside the examination books. I find that this helps my students to develop an even deeper understanding of the material in a practical use.

Similarly, I also believe that learning a new concept in harmony and theory, or a technique such as 'slap bass' is irrelevant unless it can be used in a practical manner. I therefore try to incorporate all of my exercises from real pieces of music. This way, something isn't learnt just for an exam -never to be used again.

Contact Peter

Address: Greater London
N8 9BT
Phone: 07740949883
Fee (60 minutes): £30.00

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