Welcome to the official website of Sasha Valeri Millwood

Schedule of fees

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Millwood performing at Madingley Hall -- photograph courtesy of Gregor Forbes

This page gives my official fees as of October 2015. Please note that the fees quoted do not necessarily include travel time and expenses

Teaching

UPDATE (August 2015)

Due to my research commitments, I am unlikely to be able to take on new pupils, except for occasional or one‑off lessons. If you would like to be added to my waiting‑list, please contact me.


Accompaniment

DescriptionFee
Fees are levied on a per‑booking or a per‑hour basis, not on a per‑person basis. This means that considerable savings may be available to individuals who combine their bookings (for example, two examination candidates with consecutive appointments at the same venue would pay £18 each, provided that the candidates had made the booking together and the cumulative playing time did not exceed one hour).
Surcharges may be applicable for travel.
For accompanying at examinations, competitions, auditions, amateur performances, and amateur recordings, provided that the cumulative playing time (that is, including warm-ups, sound checks, &c.) does not exceed one hour:£36·00 (fixed fee)
For accompanying at examinations, competitions, auditions, amateur performances, and amateur recordings, where the cumulative playing time (that is, including warm-ups, sound checks, &c.) exceeds one hour:please enquire
Rehearsal time in respect of examinations, competitions, auditions, amateur performances, and amateur recordings, provided that no individual rehearsal is less than thirty minutes in length:£30·00 per hour
Professional performances and professional recordings, including associated rehearsals:by negotiation

Proof‐reading of text

Rates depend on the nature of the text, with academic and scholarly writing being more expensive. Please enquire, for a no‐obligation quotation, specifying the word count (inclusive of footnotes and citations, but not the bibliography) and the time‐frame in which feedback is required.

Surcharges may be imposed for the following (this list is indicative, and not exhaustive):

Please also read the copyright and plagiarism policies below.

Proof‐reading of notated music

Owing to the huge variability in the scale, formatting, and complexity of musical scores, it is impossible to provide fixed rates. Please enquire, for a no‐obligation quotation. Proof‐reading can take the form of annotation or of a list of comments. Where the typescript is compatible with Sibelius 6 software, direct editing may also be an option.

Site visits may be possible.

Please also read the copyright and plagiarism policies below.

Typesetting

Please enquire, for a no‐obligation quotation. In general, typesetting is charged by the page, the rate depending on the nature of the material and the desired output: factors that may increase the cost include transposition, the source being handwritten (or a facsimile of a handwritten manuscript), or the presence of ambiguities that require editorial work.

Typescripts will be produced using Sibelius 6 software, and made available in Portable Document Format (.pdf). For a supplementary fee, hard copies can be printed, bound (where possible, with amenable page‐turns), and posted.

Please also read the copyright and plagiarism policies below.

Programme notes

If you would like to commission me to write programme notes, please enquire, to negotiate a no‐obligation quotation. Rates will depend on the length and nature (analytical, general, hermeneutic, &c.) of the notes and the work(s) to which they are to pertain.

All programme notes commissioned from me remain my intellectual property, and my authorship must always be credited. Please also read the copyright and plagiarism policies below.

Composition

If you would like to commission me to compose original music, and/or make a transcription, orchestration, or arrangement of existing music, please contact me to discuss and negotiate terms.

The client shall, at all times, be responsible for ensuring copyright compliance in their work, including insofar as any copyright material reproduced is, where necessary, suitably licensed. I shall neither be held liable for copyright infringement (e.g.: the breaching of a publisher’s discretionary policy as a result of recommending that a quotation be extended), nor for failing to detect it. In particular, where metadata supplied to me by the client and which have a bearing on my capacity to ascertain the copyright status are inaccurate, I shall not be held liable for erroneous assumptions pertaining to copyright status.

In all commissions where I have a creative input, I retain my intellectual‐property rights, including the right to be identified as an author. Clients are reminded that I am a member of the Performing Right Society. In respect of proof‐reading assignments, I do not make any claims of copyright or authorship. Typesetting assignments may or may not be defined as involving a creative input on my part, depending on the nature of the assignment.

The client shall neither tamper with nor remove any copyright notices.

Plagiarism policy

For proof‐reading assignments, I shall not be held liable for failing to detect plagiarism committed by the client, whether intentional, reckless, or otherwise. Clients who are concerned about whether they have furnished their work with adequate citations are encouraged to raise the issue at the time of submitting their work for proof‐reading.

Where I have concerns that the client may be committing plagiarism on purpose, I reserve the right to make such concerns known to the client’s university, publisher, school, employer, commissioner, or other appropriate authority.

For writing and typesetting commissions where I have a creative input, the client shall neither pass off my intellectual property as their own work, nor fail to attribute me.

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