Imogen Holst, Rosamund Strode, and Colin Matthews, who all served in the amanuensis role to Benjamin Britten, represent an important but often overlooked tradition of musical assistantship. This chapter traces the professionalisation of that position with Britten from one of close personal friendship with the composer, in the case of Holst, to something more formal when considering Strode and Matthews. Understanding the relationship between these individuals, alongside their contributions to the culture which surrounded Britten and his music at Aldeburgh, uncovers a rich tapestry of interconnections underscoring the collaborative nature of Britten’s achievements while also revealing how these figures contributed to the composer’s legacy.