“I will not give out students’ names for gigs that will take a job away from a professional, except if it is a non-profit organization with a limited or non-existent budget,” says Jan Jennings.

Recently an investment firm called looking for a harpist and asked if I had a student who could play for them, allegedly because they like to “support youth.” Another recent call was from someone who asked if I had a student who could play for an upcoming party. I asked him why he didn’t want a professional for his special event and he said he wanted to save money. At least he was honest.

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If these clients needed legal assistance, would they call a third year law student for advice? If they needed to transport goods, would they hire a student with a learner’s permit? If their plumbing was backed up, would they call the local high school and see if the wood shop teacher had a student who was handy with tools? Hardly.

Sadly, music is not a valued occupation in our culture. People expect us to play for free or to hire a student to save money. If they really want to support youth, they could underwrite a scholarship or sponsor a prize in a music competition.

I will not give out students’ names for gigs that will take a job away from a professional, except if it is a non-profit organization with a limited or non-existent budget. Students can gain experience by playing for a charity event while learning to give back to the community by supporting a worthy cause. But letting a student undercut a professional from a client just seeking a discounted rate is counterproductive. If the student is ready to play the gig, they are ready to be paid. They have expenses just like the pros. Some day, they might be trying to make a living as a full-time musician and they will not appreciate losing a gig to a student working for a lower fee.

—Jan Jennings, freelance harpist, arranger, and Harp Column music review editor, Orlando, Fla. 

“You can’t control the funds, attitude, or economy, but changing it into a learning experience for your student will boost confidence, show the parents that harping is a valuable skill,” says Mia Theodoratus.

I would not send a student out for free or less than two-thirds of my rate. That being said, here are exceptions and definite “nos.”

Our talent, hard work, and huge expense as professional harpists makes all of us worth more than we ask, so it is hard to not immediately emotionally rise up and feel insulted. Ask, “What kind of performance opportunity is this for my student?” Try not to say anything and let the client explain to see if it is a learning experience or exploitation. For example, if it is a soloist at a luncheon or religious institution, then, “Yes!” An hour of background music is a “maybe.” Weddings are “no” unless it is an advanced student, and even then I restrict the songs. “Never” is the answer for something that just sounds fishy, is over an hour of playing, rude or pushy people, or is for clothing, gift certificates, or love offerings.

I always get an agreement in writing with the client so they know what to expect. At this point about half actually decide maybe paying the professional is in their best interest. I also have an extra lesson with my student to make sure the music is ready and to discuss professional conduct, dress code, contracts, and prompt arrival.

I know that it was a broad question and every situation is different. You can’t control the funds, attitude, or economy, but changing it into a learning experience for your student will boost confidence, show the parents that harping is a valuable skill, and give performance experience. Also you can be proud of your protege who has just taken their first step out into the professional world.

—Mia Theodoratus, composer, improviser, and harpist, Brooklyn, N.Y. 

“As with any negotiation, listening is the key. I affirm the client’s desire to stay within budget while gently educating him as to what a pro provides,” says Liesl Erman.

I respond enthusiastically, yes! Then I patiently (and enthusiastically, of course) proceed to help set it up.

“What a great money-saving idea—just the thing for your only daughter’s engagement party! My student Aurora plays beautifully. I think you’ll really enjoy the three pieces she has ready to play; she can play them over and over and easily fill your two hours. Here is her mom’s number so you can arrange to pick her and her harp up—she drives but doesn’t have her own car.

“Will you have someone available to move her backpack and coat and string bag and harp cover and dolly when she dumps them next to her harp? She doesn’t have a stand light, so be sure to place her next to a lamp. Of course, you’ll want to be available to answer her questions, show her where to go on each break, and get her back to her harp after her break. After all, she’s still learning: a student, just as you requested!”

Okay, I don’t really say that. And I know that there are plenty of students out there that perform like seasoned pros. The message for the prospective client is that this very special occasion is not the time to skimp. Money is certainly a consideration, but it is not the only factor. And as illustrated above, there are a lot of tricks to being a professional in addition to playing the harp.

As with any negotiation, listening is the key. I affirm the client’s desire to stay within budget while gently educating him as to what a pro provides. I offer alternatives—shorter hours, folk harp instead of pedal, etc. I don’t end up with every gig, but I always feel good about my end of the conversation, hoping that the client will be a bit wiser next time he hires a musician. •

—Liesl Erman, freelancer, teacher, and director and arranger for a student harp ensemble, Los Angeles, Calif.