Being a deputy teacher is a stimulating role and can, at its best, contribute to the great curve of learning experiences – and not just for the students. Dropping in and working with students you may never have seen before can be refreshing and even enlightening as you have the privilege of entering a colleague's workspace, both physically and metaphorically. Gems may materialise in the form of new repertoire, or long-forgotten pieces may reappear like old friends. A new idea for technique or interpretation may present itself. And then there is the glow of connection with those seeking knowledge and self-improvement.
Music colleges, mindful of the fact that many of their teaching staff may also be performers with itinerant schedules, hold a list of deputy teachers. The Royal College of Music's junior department (RCMJD), for instance, often selects deps from candidates who interview for regular teaching vacancies, and occasionally advertises for teachers of all disciplines to join its dep list. Not all educational establishments work on such a formal basis, however, and many will rely on teachers to find their own cover. There are times when a teacher may draw a blank, and this is where belonging to associations (such as EPTA, ESTA, AOTOS, the ISM and the MU) can be incredibly useful, as each organisation will have a list of contacts to draw from.
What makes a good depping experience?
Sound advice comes from Liza Hobbs, who currently teaches at University of Bristol. She says: ‘Know your deputy and the way they work. Don't rely on others’ recommendations, on the whole, and make sure that they have a similar philosophy on technique. Be sure that your deputy will be a “caretaker”, ie that they will keep your students on track with the work they are doing with you, rather than following their own agenda.
‘If you are the deputy, remember that you are a caretaker and not a trailblazer. Respect the work of the person you are deputising for, and never rubbish their ideas or techniques to the student. Do not start new repertoire with students unless specifically asked to do so. And give brief feedback to the teacher who booked you.’
What deps need to be told
- Concise details about each student, including age and level
- Any particular educational needs or personal issues that need special care
- A brief outline of current goals
- Technical issues the teacher is currently focusing on
- Repertoire to be worked on
- Which printed editions the teacher or student is working from
- Keys and languages for singers
- Whether to include aural or sight-reading practice
- Whether to set specific tasks for students for their daily practice
- Whether there is an accompanist attending the lesson
- It is imperative to deliver this information several days before the lesson to allow for preparation time.
The Royal College of Music, where the junior department regularly relies on deps to provide continuity of teaching
The person specification for the role of deputy teacher at the RCMJD is much the same as for the regular teachers, and can provide a general template for a dep, at least for a junior conservatoire environment. The essentials quoted are: widely recognised and highly respected practitioner, either as a performer or teacher; music degree (or equivalent); relevant experience of teaching gifted and talented students aged eight to 18; able to teach to an exceptionally high level of technical and musical proficiency; able to communicate effectively with pupils, parents and colleagues both verbally and in writing; able to work unsupervised and use initiative; and able to be well organised and self-motivated. Of course, the skills and experience required of deps may vary for other teaching settings, such as schools and music clubs, where group-teaching skills and experience of special educational needs might be prioritised.
Frith Trezevant, a teacher at St Paul's Girls School and the RCMJD, has experienced the role of deputy teacher from both sides. He says: ‘When booking a dep, I hope for their understanding of the student and of our work together so far – that it's work in progress, not the same as adjudicating or critiquing a finished performance. I hope that they will be constructive in their attitude to my students, that they will bring their own insights into the studio, and that the student may get a different but coherent view of what they are doing.
‘When I was a dep, I used to get detailed info about any special problems the teacher was working on, the student's general progress and any special needs to consider, or things that really worked with a particular student. The teacher trusted me to use my discretion.’
Practicalities
To have a good chance of finding someone suitable and securing their services, teachers should seek out a dep as soon as they know they need one. Most teachers – deps included – have busy schedules, so the more notice the better. Double check you have given them the correct date, time and venue.
Any teacher wishing to dep will find it useful to acquire a portable DBS check. This is quick and simple to use and costs only £13 per year to maintain via the online update. Without using the online update, a DBS certificate becomes more and more out of date and may not be accepted by some settings.
Before booking a dep, let them know the fee and how this will be paid, and when. Bank details may need to be obtained. A few helpful tips on how to find the venue would probably be welcome, and car users will need to know if there is parking available and where. The dep will also need to know where to report on arrival and the room they will be teaching in, and in many cases how to gain access to the building. Advice on whether meals or refreshments are available is also useful information.
Registers usually need to be maintained, so deps need to know where these can be found and returned. They need to be told how to find out if a student is absent and what to do if students don't turn up. Is there a contact in the building who can help locate them? The names of nearby friendly colleagues are always welcome.
Let the dep know if there is an accompanist available, particularly if the student is preparing for an imminent performance or exam. It is useful for students to be primed to take along their own copies of any music and, if they are especially helpful, they might even supply a copy for the dep who may not have been able to source their own (or their own in the right edition, key or language).
Supporting a colleague and providing continuity for their students can be hugely satisfying, but for this relationship to work well there needs to be a system of care and connected thinking. With pointers from the regular teacher, deps can reinforce concepts and offer a different vantage point, sometimes triggering responses in the student to the benefit of their ongoing development.
