Our recommendations for the fees which employed organists and directors of music should be paid in 2012 are set out below. They draw on the results of our latest survey of fees but also take into account price inflation and the general economic environment. Over 600 musicians took part in the survey. This makes the results a truly authoritative picture of what organists and directors of music were paid. You can also find here a summary of these results. The survey indicated significant differences between rates paid in London and those paid elsewhere in the UK, It also suggested that there was a wide range of differing fees paid within each of these areas. Both these findings are reflected in our recommendations. Due to competition law constraints, we are not able to make any form of recommendation in respect of fees for self-employed organists. Our recommendations for employed organists should not in any way be seen as recommendations for self-employed organists.

These recommended rates are exclusive of paid holiday, for which the employer should pay in addition.

Recommended rates for employed organists and directors of music

Calculating the right rate for you and your church if you are paid an annual salary

Step 1 Choose an appropriate hourly rate within the recommended range in the table. You should take into account considerations such as:

• whether or not you have to direct a choir
• the size and importance of the church
• the importance of music in the church’s liturgy
• your qualifications and experience as an organist and choir director.

Step 2 Multiply this hourly rate by the number of hours you are required to work in the year. The number of hours should include not only time spent at church services but also hours spent on rehearsals, in selecting and preparing music, attending liturgy planning meetings etc.

Step 3 To arrive at the annual salary, this total should then be adjusted upwards to allow for at least the statutory minimum paid holiday. (The current statutory entitlement is to 5.6 weeks of paid holiday.)

For example, we will take the case of a musician who is employed to direct the music in a church for two Sunday services in 46 weeks of the year (that is, other than six holiday weeks). Each of these services requires him to be in the church for two hours. In addition, he rehearses the church choir for two hours each week and spends one hour each week on preparing the music for these liturgical services in 46 weeks of the year and administration. He is also required to direct the music at ten Holy Day services each year (which again requires his presence in the church for two hours per service) and holds ten additional two-hour choir rehearsals and spend a further six hours in total in other preparation for these. In total, this means that he is required to work for 368 hours each year.

• if he is director of music at a prestigious parish church in central London which has a semi-professional choir it might be decided under Step 1 that the appropriate hourly rate was £25
• under Step 2 this £25 is multiplied by the 368 hours worked each year to give an annual salary before holiday pay of £9,200
• under Step 3 this annual figure is adjusted upwards by a factor of 6/46 to produce an annual salary including holiday pay  of £10,400. 

Calculating the right rate for you and your church if you are paid a fee per service

Step 1 Choose an appropriate hourly rate within the recommended range in the table, taking into account the factors suggested above for musicians on an annual salary

Step 2 Multiply this hourly rate by the number of hours that you are required to spend preparing for and playing at each service. As with salaried organists, this should take into account not only time spent at church services but also hours spent rehearsing, selecting and preparing music, attending liturgy planning meetings, other administration etc. Our expectation is that the per service fee will usually be between two and 3.5 times the relevant hourly rate, depending on the amount of time spent in rehearsal and other preparation.

Step 3 Remember that these rates are exclusive of paid holiday. In law, the employer is required to give all employees 5.6 weeks paid holiday.

Using the same example of a director of music in a London church with choir

• under Step 1 £25 is chosen as the appropriate hourly rate
• under Step 2 this hourly rate is multiplied by a factor of 3.5 to allow for the time worked on each Sunday service (two hours on the day of the service, one hour rehearsing the choir and half an hour on other preparation) to produce a fee per service of £87.50 and regular weekly remuneration for Sunday services of twice this amount, £175
• in addition, the church should pay for 5.6 weeks of statutory paid holiday at this normal weekly rate, a total of £980. 

Our survey findings

The survey was carried out for us in September and October 2010 by statisticians at the University of Reading. Participants were asked about their fees in the first six months of 2010.

The results support our earlier finding that most directors of music are paid an annual salary and most organists receive a fee per service. The vast majority of organists who were paid a fee per service were self-employed.

Most organists worked between two and eight hours per week. Those who were employed tended to work more hours, mostly between four and 15 per week, than self-employed organists, who mostly worked between two and seven hours per week.

The overall figures include the fees reported by a number of respondents who commented that they charged below the market rate for personal reasons. Other respondents also may be doing this. This will, of course, make the overall figures reported rather lower than the full commercial market rates.

Some three-fifths of respondents were paid an annual salary or honorarium. Their remuneration varied greatly, from £205 to £60,000 per annum. This is unsurprising given variations in the size and importance of churches, in the importance of music within individual churches’ liturgies and consequently in the number of hours of work required in different church posts.

The table below shows the survey results for the two-fifths of respondents who were paid a fee per weekly service. As the survey results show considerable variation between rates paid in London and those paid in the rest of the UK, the results are broken down by region. 

Survey results: fees per regular weekly service in the first six months of 2010

These figures do not represent recommended fee levels or the current actual level of fees. Rather, they are historic data relating to fees charged in the first half of 2010. If organists and those engaging them use these figures to derive appropriate current fee levels, they will want to bear in mind developments since the survey period which will have impacted on the level of fees, in particular general price inflation, click here for details.

* Half the respondents were paid this amount or more and half were paid this amount or less.

** Most respondents were paid within this range: 20% were paid more and 20% were paid less.

In addition, almost 90% of survey participants who were paid for Holy Day services (eg Good Friday, Christmas) received the same fee for these services as for weekly services.

The next table shows what respondents (both those paid an annual salary and those paid on a per service basis for regular services) charged in addition for special services such as weddings and funerals.

Survey results: fees for special services in the first six months of 2010

These figures do not represent recommended fee levels or the current actual level of fees. Rather, they are historic data relating to fees charged in the first half of 2010. If organists and those engaging them use these figures to derive appropriate current fee levels, they will want to bear in mind developments since the survey period which will have impacted on the level of fees, in particular general price inflation, click here for details.

 * Half the respondents were paid this amount or more and half were paid this amount or less.

** Most respondents were paid within this range: 20% were paid more and 20% were paid less.

The fees in this table are the basic fees, before any additional charges for recordings of the service. The survey shows that two fifths of respondents charged a mark-up on their basic fee for audio recordings. Three fifths charged a mark-up for video recordings, with almost two fifths charging an additional 100%.

For further advice about working as an organist, ISM members can read our advice for organists.

Following five years of government funding which saw Sing Up achieve amazing success - harnessing the enthusiasm and commitment of no less than 98% of primary schools, win the prestigious RPS Award for Education, and universal praise in the government’s recent consultation on Music Education - the venture has announced that from 1 April 2012, it will be offering a membership to schools, individuals and families, to ensure that the nation’s children continue singing.

The Sing Up programme’s overall aim was to raise the status of singing and increase opportunities for school children throughout the country to enjoy singing as part of their everyday lives, against a backdrop of anxiety that singing had almost completely died-out in many schools.

Sing Up created an online singing resource - The Songbank, which now contains 500 songs, and the Sing Up website has nearly 190,000 visitors a month - a media and schools campaign highlighting the benefits of singing and a training programme which has been taken up by no fewer than 50,000 people to build the confidence and expertise of primary school teachers in leading and supporting children’s singing activities.

Michelle James, who has been involved as a Lead Partner of Sing Up for the past 5 years, and who now takes over the role of Director from Baz Chapman, said:

'Sing Up will still be – as it has always been - an integrated set of resources and support to help schools get high quality singing happening in the classroom, across the curriculum, throughout the school day. We want to continue to help teachers to build singing into curriculum subjects, topics and activities, to support wider learning and achievement, and to foster a sense of school community. We know that singing helps children be alert, focus and concentrate, learn facts and helps teachers to create a stimulating and enjoyable learning environment. We also know from Institute of Education research, that children in Sing Up schools are 18 months to two years ahead of their non-Sing Up peers in their singing ability. What Sing Up has achieved working with schools in the past five years is too important to come to an end. We’re determined to build on the support and goodwill we have gained over the past 5 years, to keep Sing Up going for future generations of children to gain the benefits we know singing provides.'

She went on to say:

'Although it would be easy to complain about cuts to funding, we feel we’ve been extremely fortunate to have received funding from two successive governments over the past five years to get Sing Up started, and we’re excited about the future and ready to move on to the next phase of Sing Up’s journey. We hope that as many schools as possible can come with us. We appreciate that money is tight for everyone at the moment, and will be working with those schools who might struggle to find additional money, to fundraise in creative ways, using the singing going on already in their schools, to generate the relatively small amount of money needed to continue using Sing Up.'

More information is available on www.singup.org, and schools, Sing Up partners organisations and individuals interested in finding out more are warmly invited to contact the Sing Up team on info@singup.org or 020 7902 2939 or 020 7902 1060

• career transformation
• expressing yourself fully & freely
• work-life balance
• maintaining artistic integrity
• managing creative collaborations
• overcoming self-doubts

Is your career in line with your core values?

We all hold a core set of personal values. Some are aware of what those are and some are not. During our lives we sometimes live according to our values and sometimes end up compromising them so badly that it throws us off balance. We may get angry, sad or depressed, others experience feelings of insignificance and inertia. These can all be symptoms of living against what is essential to your wellbeing.

One of my clients, a professional session musician, spent most of his career loving every second of playing music but terrified of picking up the phone or typing an email asking for more work, and thereby frustrated from lack of work. He also kept his rates very low as he didn't believe anyone would pay much for his skills. In the first coaching session we uncovered the personal values that he expressed in full every time he played music, and how that was the source of his confidence. He realised that by staying true to his values in everything he does, he'll be able to transform the direction of his career.

I’ve always had confidence in my playing and musicianship but hadn’t been able to translate that into confidence in my career, and that’s what I wanted to be coached on. After just one session with Heli I was able to make that leap and go looking for new contacts and opportunities with the same enthusiasm I have for the music itself!

Suggestion: Pick an area of your life where you feel fulfilled. Consider what feelings, thoughts and bodily sensations are present to you at those times - this will help you start uncovering your personal values. Can you identify them?

How do you contribute to creative collaborations?

The skills that many musicians have, either on stage or off stage, are all essential to the elements of musicianship and effective creative collaboration.  The ability to listen applies to what is being said as well as what has been played.  Your creative expression and the ability to respond to constructive feedback all contribute to creative collaborations.

Blocks in effective communication can have both an artistic and financial impact on collaborations. In recent months several music magazines have featured interviews where music producers, composers and artists talk about key components of effective collaboration: awareness, listening and communication. For example, producer Brian Eno (TapeOp Nov 2011) talks about people who spend studio sessions glued to their iPad, oblivious to the people and the mood in the studio, let alone what is being created, neither learning nor contributing, and how this hinders the creative process and limits what is possible for the production.

Suggestion: Pick a person that you don't communicate with as effectively as you'd like. Next time you meet & talk, let them finish what they are saying - then see how it was different to what you thought they were going to say. What did you learn?

Myth busting - what coaching isn't

There is a lot of misinformation about what coaching is and isn't. Personal coaching or life coaching is a form of personal development consulting, and it differs from counselling and therapy in three important aspects:

1. There is nothing to be 'fixed' - In a coaching relationship your coach will always assume you are a creative, resourceful and whole human being who has not yet managed to achieve all that they want to achieve in their life, career and relationships. That's why many coaches talk about 'anything' being possible - we have seen it be true and we know it can be true for you.

2. The only way is forward - Whilst our past life can have a huge impact on who and how you are right now, coaching will start from what's going on for you right now and what is and isn’t working for you. We then establish what you would like to achieve and immediately start building life and career strategies that will get you there.

3. You won't get told what to do - You are the expert on your life. Your coach is professionally trained to nurture that expertise so that you can make valuable life and career choices. A coach is trained to ask you questions that help reveal what's going on for you on a conscious and subconscious level. The coach will then provide reflective observations and insights. It's like holding a mirror for you to see what's going on so that you develop a heightened awareness of your choices and personal values.

Suggestion: When choosing a personal coach, make sure they abide by the Code of Ethics set by the International Coaching Federation. This ensures you are being treated with full confidentiality and respect at all times during the coaching relationship.

Heli Rajasalo
January 2012
 

Heli Rajasalo, originally from Finland, is a personal coach based in London, UK. Her company Rock Your World Ltd - an ISM corporate member - is a globally minded professional coaching consultancy for personal development, career planning, creative collaborations, conflict solving, and leadership skills. She works primarily with musicians, artists, groups and anyone managing creative talent. More information: www.gorockyourworld.com

"It is so wonderful to know that there is this marvellous group of people who have made it possible for me to keep my home."

We offer financial grants and also help members to access other forms of support, for instance,

• We help members and their families who are unable to work because of serious illness or injury
• We help members in financial difficulties for other reasons also, such as having to care for a family member or marital breakdown
• We help retired members struggling to meet the cost of basic needs
• We provide the ISM’s 24-hour advice and counselling helpline for members and their families to talk through money, debt and health issues in confidence with a trained adviser or counsellor

Any musician could need our help – read about the musicians we have helped. It could be you or one of your friends or colleagues.

How you can help

The Fund is not financed in any way by members’ annual subscriptions. It has been able to support musicians and their families through hard times thanks to the generous donations and legacies of individuals  wanting to help musicians in need.

Find out how you can donate to the Fund.

"It means a great deal to him that musicians support their sick colleagues to such an extent."

How to apply for support

If you, or someone you know, needs the Fund’s help, please contact us immediately. You can download an application form by clicking on the link at the bottom of this page. Please send the completed form to ISM Members Fund, 10 Stratford Place, London W1C 1AA. You should expect to hear back from us within two to three weeks.

If you would prefer to discuss your circumstances informally first or need help in filling in the application form, please contact Caroline Aldred, the Head of Members Fund Operations, who treats all enquiries in strict confidence and would be pleased to help you. You can email Caroline at caroline@ism.org or call her on 020 7079 1210.

"I found myself overwhelmed to receive the Fund’s cheque ..."

Related links

• ISM Members Fund: how we help
• ISM Members Fund: how you can help
• Online donation page

• provide details of a student (if over 18) or parent or guardian of a student who will act as a referee
• obtain a CRB Enhanced Disclosure through the ISM to specifically apply to your self employed music teaching. This is to be obtained every 3 years to maintain your Approved Private Teacher status
• sign a past convictions declaration and child protection declarations
• sign to say you agree to adhere to the ISM Code of Practice for Private Music Teachers, the ISM Child Protection Policy and the ISM Code of Ethics

For further information please contact rebecca@ism.org If you would like to apply for ISM Approved Private Teacher status please fill in and return an IAPT application form (download below).

Related links

ISM Code of Practice for Private Music Teachers

ISM Child Protection Policy

ISM child protection procedures for members

Child Protection: the law

ISM Code of Ethics

How to sign-up to be listed

Every ISM member is entitled to be listed in the ISM Music Directory and signing up is simple! All you need to do is login to the members' area using your username and password and update your online profile. If you have joined one of our Registers your details will have been transferred to the Directory automatically. We recommend that you update your details and complete your online profile to make full use of this opportunity to promote yourself and your professional services.

You can access the Music Directory at http://musicdirectory.ism.org

What's new?

ISM members will be able to edit and update their listing information online. Each listing can include biographical information, details of areas of expertise including instruments and/or discipline, experience, qualifications, awards and accreditations, location, and links to member websites and social media. Relevant images, and video can also be included, and there will soon be a section where members can publicise their forthcoming concerts and events.

As with the online Registers, the Directory is searchable and is available to anyone seeking the services of a professional musician. To make the Directory’s search facility easier to use and more effective we have added more search options including a keyword search. Whenever there is a match between search terms and the information within a listing, the listing will appear in the search results. Directory listings will also appear in search engine results (e.g. Google, Bing and Yahoo). This means listings within the ISM Music Directory will receive a lot more exposure than the old online Register listings and so will generate more interest.

Click here to read our recent press release about the ISM Music Directory.

You can access the ISM Music Directory here.

ISM Approved Private Teacher status

ISM members who work as private music teachers can apply for ISM Approved Private Teacher status which involves obtaining a reference from a pupil (if 18 or over) or parent/guardian of a pupil, obtaining a CRB Enhanced Disclosure through the ISM, and agreeing to adhere to the ISM Code of Practice for Private Music Teachers.  For further information please contact rebecca@ism.org If you would like to apply for ISM Approved Private Teacher status please fill in and return an IAPT application form.

Employed music teachers

Our recommendations for the fees which employed visiting music teachers in schools should be paid in the 2012/13 academic year are set out in the table below.

The recommendations take into account the findings of our recent fees survey. This shows that there are clear differentials between rates paid by maintained schools, independent schools and music services. The recommendations also take into account the general economic environment and price inflation.

These recommended rates are exclusive of paid holiday, for which the employer should pay in addition.

Recommended fee ranges for employed visiting music teachers in 2012/13

Self-employed music teachers

The fees survey we commissioned shows that self-employed visiting music teachers in schools who bill their pupils’ parents directly charge more than employed visiting music teachers. Self-employed teachers should bear in mind that, unlike their employed counterparts, the school does not provide them with paid holiday or sick pay or make pension contributions on their behalf. They have to make allowance for holiday breaks, sickness and pensions out of the fees they charge and should build an allowance for these items, as well as their other business costs, into their rates.

Self-employed teachers who are paid by the school may (as “workers” under the relevant legislation) be entitled to holiday pay in addition to their hourly rate. Like teachers who bill parents directly, however, in setting their fees, those paid by the school should make allowance for their pension contributions and business costs as well as their lack of sick pay entitlement.

For a list of other costs which self-employed teachers in schools might want to take into account when setting their fees, please go to our advice page on private tuition fees.

Fees survey: self-employed visiting music teachers in schools

The survey was carried out for us externally in October and November 2011 by independent statisticians at the University of Reading. Our members were asked what they charged per hour of one-to-one tuition in September 2011, the start of the 2011/12 academic year, at the school where they worked most. Most self-employed teachers charged between £26 and £34.15 per hour. The mid-point (in the sense that half the teachers charged more and half charged less than this figure) was £30. 

The survey shows that self-employed teachers charge more than employed teachers. Moreover, teachers in independent schools, specialist music schools and higher education establishments earn a higher rate than those in maintained schools or working for music services.

The table below shows the survey results for self-employed teachers broken down by region and type of school.

Self-employed music teachers in schools: lesson rates in September 2011

*Half the respondents charged this amount or more and half charged this amount or less.
**Most respondents charged fees within this range; 20% charged more and 20% charged less.

Fee increases

Over two fifths of survey respondents reported that their school teaching rates had risen over the previous twelve months. For the majority of those reporting an increase, rates rose by between 2% and 5%. The mid-point was a 3% increase.

Other points to bear in mind

Written contract
We recommend that, if you are a self-employed teacher in a school, you use the ISM’s agreement for private music tuition as your contract with your pupils’ parents. This sets out clearly the initial lesson rate and allows for subsequent fee increases.

Group tuition
It is usual to charge a higher rate for group lessons and orchestra, choir and ensemble teaching.

For group lessons, you might consider using the following ‘formula’ for charging:

• two pupils sharing a lesson would each pay two-thirds of the fee for individual tuition
• for three to four pupils, the total fee would be one-and-a-half times the individual tuition fee
• for five to six pupils, the total fee would be twice the individual tuition fee.

Other work
It is customary for additional payments to be made if your attendance is required for non-teaching events such as

• rehearsals
• concerts
• staff meetings
• training sessions, including INSET days
• parents’ meetings
• accompanying
• instrument maintenance and purchase.

Travel expenses
If you visit more than one school for one employer expenses are usually paid for:

• the journey from your administrative centre to your first school at the start of the day
• subsequent journeys between schools
• the return journey to your administrative centre at the end of the day.

Experience

Our fees surveys suggest that  teachers with greater experience tend to charge more than others.

Fee reviews and increases

It is sensible to review your fees regularly. This enables you to adjust your fees gradually upwards to reflect your growing experience and skill. It also allows you to take account of general price inflation, as measured by official statistics, such as the Consumer Price Index. (This is published monthly by the Office for National Statistics).

Contracts between music teachers and the schools employing them often provide for annual reviews of the lesson rate, with any change to take effect in September, at the start of the academic year. It is good practice for schools engaging teachers on a self-employed basis also to review lesson rates annually.

If you are a self-employed music teacher billing parents directly you should review your fees once a year, even though you may not always raise them. In deciding whether or not to raise your fees, and by how much, you will want to take into account general price inflation and your growing experience of teaching. You should also bear in mind the general economic environment and how this might be impacting on demand for music lessons as well as the general level of music lesson fees in the area where you live.

ISM members can download a standard form to give notice of an increase in fees.

The survey was carried out for us externally in October and November 2011 by independent statisticians at the University of Reading. Our members were asked what they charged per hour of private tuition in September 2011. Most charged between £25 and £35 per hour. The mid-point (in the sense that half the teachers charged more and half charged less than this figure) was £30. These overall summary result figures were similar to those of the previous year’s survey.

Nevertheless, almost two fifths of survey respondents reported that they had raised their private teaching rates over the previous twelve months. The majority of those who did increase their fees raised them by between 3% and 8%. The mid-point was a 5% increase, in line with general price inflation.

In setting their current rates, teachers might want also to bear in mind that previous surveys showed that teachers with greater experience tended to charge more than less experienced teachers.

The latest results showed regional variations in fees charged. Teachers in Central London charged significantly more than teachers in Outer London who, in turn, charged more than teachers living elsewhere. Additionally, fees charged in the South and South-East seemed to be higher than elsewhere in the UK outside London. 

The tables below show the survey results broken down by region.

Fees charged in September 2011 (In £ per hour)

* Half the respondents charged this amount or more and half charged this amount or less.
** Most respondents charged fees within this range. (Only 20% charged more and 20% charged less.)

Items you should include in your fees

Remember that your fees should cover not only the time you spend actually teaching, but also the administrative and other time you spend maintaining your teaching practice. This may include:

• time spent travelling if you give your lessons in your pupils' homes
• time spent on lesson preparation
• time spent updating pupils' records, marking and writing reports
• time spent on interviewing prospective pupils
• time spent at pupils' concerts and workshops.

You should also build an allowance for holiday periods into your fees.

Finally, your fees should also cover your overheads.  These may include:

• instrument maintenance and repairs
• instrument, property, car, health and public and employers’ liability insurance*
• pension contributions
• income tax and national insurance contributions
• accounting and audit fees
• interest on business-related bank loans and mortgages
• studio hire charges
• business rates
• music, books, stationery, recordings, advertising
• subscriptions to professional associations and periodicals
• secretarial, telephone and answering services
• studio lighting, heating and maintenance
• cost of transport or car mileage.

* The ISM’s public and employers’ liability insurance covers full and student members of the ISM.

How often should I increase my fees?

It is sensible to review your fees regularly. Most music teachers do so once a year, even though they may not always raise their charges. Regular reviews enable you to adjust your fees gradually upwards to reflect your accumulating experience. They also allow you to take account of general price inflation, as measured by official statistics, such as the Consumer Price Index. This is published monthly by the Office for National Statistics. In deciding whether or not to raise your fees, and by how much, you will probably also want to bear in mind the general economic environment and how this might be impacting on demand for music lessons as well as the general level of music lesson fees in the area where you live.

The ISM’s agreement for private music tuition allows for fee increases. Teachers are required to give clients written notice of proposed increases by no later than the start of the series of lessons preceding the series when the increase is to take effect. It is good practice to obtain a written acknowledgement of any notice of increase of fees. ISM members can download a standard form to give notice of an increase in fees.

Shared or group lessons

Because of the greater time required for preparation and administration of lessons given to a group, most teachers charge more for group than for individual lessons.
You might consider using the following ‘formula’ for charging for group lessons:

• two pupils sharing a lesson would each pay two-thirds of the fee for individual tuition
• for three to four pupils, the total fee would be one-and-a-half times the individual tuition fee
• for five to six pupils, the total fee would be twice the individual tuition fee.

Audition lessons

Teachers do not usually charge for auditioning potential pupils or interviewing them and their parents before deciding whether or not to accept them.

Consultation lessons

If you are going to charge for a consultation lesson, you should tell pupils and parents at the time the lesson is booked that there will be a fee payable on the day. You should also tell them the amount you will charge. An appropriate level of fee for consultation lessons might be one-and-a-half times your usual lesson rate.

Level taught

Some teachers charge more for advanced pupils.

Financial hardship

If you teach in an area where there is particular financial hardship or if an individual client is experiencing financial difficulties, you may consider reducing the length of lessons and adjusting your fees accordingly.

Another way of helping clients who are having difficulty paying your normal fee is to award a bursary for a specified period. The terms of the bursary should be put in writing, as it is a variation to the terms of tuition. It is a good idea to make clear that the bursary is made at your discretion, that it lasts for the stated period only and that it is not necessarily renewable. Bursary amounts should be shown on accounts.

In setting your current rates, you might want also take into account:

• your growing personal experience and skill
• price of inflation since the survey period (official data published monthly)
• the general economic environment and its impact on demand for musicians’ services and
• any information you have about the general level of fees musicians are charging in the area where you work.

Fees charged in January-September 2011 for accompanying

* Half the respondents charged this amount or more and half charged this amount or less.

** Most respondents charged fees within this range. (Only 20% charged more and 20% charged less.)

A number of respondents commented that they do not charge an hourly fee as such for accompanying at examinations. Instead they charge a set fee per exam, which includes a rehearsal and the exam itself. These fees vary depending on the level of the exam.

You and the Public

You should maintain the highest standards of conduct and presentation on and off the platform.

Unless speaking on behalf of the ISM or the Performers & Composers Section, make it clear that the opinions you are expressing are your own and not those of the Society.

You and Promoters

You should communicate clearly your performing requirements at the outset and not misrepresent your activities in any manner whatsoever.

You should ensure that the terms of the contract are expressed in a written agreement, preferably the ISM Performance Contract. You should present yourself for an engagement and perform the stated programme unless there are unimpeachable reasons for not doing so.

You should endeavour to honour every contract or commission. You should not seek release from a contract in order to accept a more lucrative engagement or one which carries greater status. You should be aware that failure to present yourself for an engagement, perform the stated programme or complete the commission may constitute a breach of contract. The promoter may have the right to enforce the contract.

In the event of unavoidable cancellation of a performance (e.g. due to ill health) you should offer an alternative date to the promoter, based on the original terms of the agreement, or if appropriate, be prepared to provide a suitable deputy acceptable to the promoter.

Your Business Arrangements

Personal representation by agents, managers and publishers should be undertaken by written agreement, determining the terms of representation, review procedures, any advances/commission/ retainer/royalties payable and the method and agreed time of remuneration. Contracts should be signed personally unless responsibility to do so has been assigned in writing to your personal representative. When seeking representation by a publisher, always submit a legible photocopy of the score, marked with your name, the date of composition and copyright symbol ©. Assignment of works must be by written agreement. You should be aware that performances should not normally be recorded or broadcast without your prior written consent.

Your Fees

Fees for an engagement or commission are a matter for negotiation between the artist and the client. However, accepting unrealistically low fees can undermine your standing and that of professional colleagues.

You are strongly advised to obtain written notification of the agreed fees and what is covered by them, including any VAT. Fees are normally quoted exclusive of travel expenses and subsistence. If an inclusive fee is negotiated, it is advisable for the component parts to be identified and apportioned. Agency commission is normally payable on the basic fee only. The ISM publishes surveys of fees and general guidance that may assist self-employed musicians.

Your Publicity

Your advertising should only relate to services offered. Publicity should not be dishonest, misleading or contrary to your own professional knowledge. Sources should be quoted in abstracts of press notices.

Sponsorship should be sought in a professional manner on mutually beneficial terms.

You and the Amateur Musician

You should be aware that undertaking engagements for no fee or accepting remuneration in the form of enhanced expenses can undermine your professional status and erode employment opportunities for you and other professional musicians. It is nevertheless important to recognise the contribution of amateur music-making to a vigorous musical environment; you should always seek to develop opportunities for amateurs to benefit from your experience as a professional artist.

Complaints Procedure

Any person who considers that a member has failed to comply with this Code of Practice has the right to make a formal complaint, in writing, to the ISM’s Chief Executive. All complaints will be investigated in accordance with the ISM Complaints/Disciplinary Procedure.