Teaching Teachers Robert Legg considers the role of the advanced skills teacher in spreading good practice They say that even through the blackest clouds, some light always shines. This maxim holds true for education. No matter how gloomy the overall picture, some rays of sunshine remain. Even in the dark days of the 1990s, with educational funding and teacher morale at their lowest, excellent practice in music education was, despite everything, still to be found. The chief problem was the inconsistency of this success.

The government's creation of the advanced skills teacher (AST) grade in 1998 was, in part, a response to this problem of patchiness. Ministers saw an opportunity to promote the best practitioners, pay them more money, and set them the task of spreading good practice to teachers in their own and neighbouring schools.

A major aim of the scheme is to allow experienced teachers who enjoy working with pupils the chance to gain career advancement without having to make the move into school management. Whereas in the past ambitious professionals had to take on leadership or administrative roles in order to earn higher salaries, the 'Super Teacher' grade, as it was dubbed, allows them to earn a deputy head's salary whilst staying in the classroom.

An AST typically spends four fifths of the school week based in his or her own school, carrying out the normal duties of a classroom teacher.

Although strictly these are not supposed to include management responsibilities, many teachers working as ASTs are, in fact, heads of department too. The last fifth of the working week – often a complete day – is set aside for the AST to pursue outreach projects and to share best practice with neighbouring schools.

Governmental funds, usually devolved through LEAs, generously compensate schools for the shortfall in their budgets that outreach work would otherwise cause, making the appoint-ment of an AST a viable prospect for most head teachers. For the prospective AST too, the remuneration is attractive, with salaries ranging from £31,263 to £56,115.

In most cases, the AST post holder has plenty of autonomy to define his or her role. Typical activities include teaching model lessons for colleagues to observe, advising others on successful methodologies, creating high quality teaching materials and leading professional learning groups.

Many ASTs also have responsibility for professional development in their subject area, supporting Newly Qualified Teachers (NQTs), trainee teachers and colleagues experiencing difficulties.

For Sue Walker, an AST with Croydon's Music Service, the benefits are very clear. 'When I started travelling around primary schools I discovered that, although willing, many excellent teachers were unsure and very nervous when it came to teaching music,' she said. 'For me, the great thing about being an AST is that I can help develop teachers' expertise and confidence, whilst immediately improving the standard of pupils' work in music. And because I'm still active as a teacher myself, and not an inspector or adviser, teachers aren't threatened by me being around.'

Sue's activities centre on providing curriculum training for the primary teachers in her area. This involves delivering demonstration lessons for pupils and training days for colleagues. In order to prove that she had what it takes to be an AST, Sue went through a gruelling assessment process involving a tough interview. She also had to provide pupil, parent and colleague 'witnesses' who could testify to her teaching ability. 'It was a daunting process,' she admitted, 'and the assessment day itself was extremely tough.'

The daily life of an AST can be equally challenging. Workload – especially reconciling the competing demands of various 'bosses' – can weigh heavily. Elaine Levene, an AST working in Leeds, reflects on the pressures of her job: 'As a primary-based AST, I am expected to set work to leave for my own class as well as preparing for the lessons I deliver as outreach. This means that I spend considerably more time on planning and preparation.'

Despite these extra demands, Elaine has no regrets about taking on the post. 'It's been a huge challenge at times,' she said, 'but I've enjoyed every minute of it. The work is very varied, with new experiences every day, so there's no danger of getting bored.'

One of the main concerns for ASTs is the continuance of their funding. Maintaining the scheme is a heavy burden on the government's Standards Fund, and questions have been raised about its cost-effectiveness in the long term. The introduction of the Excellent Teacher grade too has prompted speculation that ASTs might face the axe. A DfES spokesperson addressed this issue head-on: 'Funding for existing ASTs in 2005-6 averages £15,500 per post. Funding at a similar level, which should support around 4,500 posts nationally, will be available in 2006-7 and 2007-8.' Beyond that, it seems, AST funding will depend on the results of a general consultation currently investigating funding in education.

Although funding patterns may change, it is unlikely that the government will jeopardise the political capital it has invested in the scheme by abolishing ASTs altogether. Across the country, ASTs, the real movers and shakers in music education, are supporting teachers, inspiring pupils and improving standards. As the Music Manifesto builds momentum, they will almost certainly play a key role in delivering the government's ambitious promises for extended music provision in schools. In this time of change, the future for ASTs looks bright.

Robert Legg is an AST for a partnership of 14 primary and secondary schools in South Oxfordshire