Making an impact: read Orchestras for All’s powerful new report

Building inclusive communities, one musical note at a time…

Another memorable year at Orchestras for All (OFA), another inspiring Impact Report – and our 2022-23 roundup might just be our best one yet.

In a world that often echoes with discord, we’ve been working tirelessly over the past year to become a driving force for positive social change by welcoming young people and music leaders from all across the UK – from London to Birmingham, Manchester to York – to our inclusive music-making activities.

We truly believe that the joy of group music-making should be experienced by all young people, from all walks of life – not to mention the associated benefits that come through playing music with others in an orchestra, which include boosting a young person’s confidence, developing their social skills, unlocking creative potential and building community, to name but a few.

In our latest Impact Report, we share key findings from OFA’s three barrier-smashing programmes: National Orchestra for All (NOFA), Modulo and Music Leadership Training (MLT), through which we aim to empower and energise young people and music leaders alike – regardless of their personal circumstances or the daily challenges they might be facing.

Trustees Beth White and Joelle Sogunro said: “This year, the number of NOFA members has doubled compared to last year, which is a testament to the growing influence and reach of our organisation. Through Modulo, we reached 613 young people nationwide, directly impacting their lives and fostering a sense of community through music making. Plus, an astounding 7,000 young people have been indirectly impacted through our MLT programme.”

Read more: 13 barrier-smashing highlights from Orchestras for All in 2023 >

Modulo participants play together at Cecil Sharp House in London, led by OFA’s Associate Conductor, Rocco.

The former NOFA members added: “We firmly believe in the power of youth voice and have taken significant strides towards championing it, so one of our key triumphs this year has been the development of youth leadership opportunities at OFA. As part of this, we handed over the Youth Board to current OFA Ambassador, Chloe Morgan, and welcomed her to the Board of Trustees. Chloe’s energy and fresh perspective has already made a positive impact on our decision-making processes.

“We also further invested in our wellbeing approach, ensuring that OFA’s programmes not only inspire creativity but also nurture the individual needs of every participant – making our initiatives even more inclusive and accessible, while opening up doors for diverse young minds to thrive.”

Read more: Meet National Orchestra for All musicians, Lola and Christian >

As well as outlining the steps we have taken to keep youth leadership and wellbeing at the forefront of OFA’s vital work, the Impact Report shares event highlights, heartwarming stories of personal growth and resilience from the young people who participate in our programmes, and sheds light on how we plan to strengthen the charity in future – from investing in our environmental responsibility to continuing our exciting transition as a new National Portfolio Organisation.

Alongside our commitment to providing high-quality music education and musical opportunities, building inclusive communities where each and every young person (and staff member) feels welcome and supported is what makes OFA so very special.

By fostering a sense of belonging and collaboration, we’re creating vibrant ensembles that reflect the rich tapestry of our society. During NOFA’s spring 2023 residential, we recorded a video of the young musicians creating a powerful improvised piece, titled ‘Strength in Numbers’, with composer and multi-instrumentalist, Joe Broughton. The video (watch above) is currently being considered in the Smiley Charity Film Awards 2024 and open to a public vote until midnight on 24th January 2024 – you can support us by casting your vote here!

We can’t wait to see what the future holds for OFA and through our latest Impact Report, we hope to demonstrate that when young people have access to a safe space in which they can come together to create music, it can be truly life-changing.

Please join us in breaking down musical barriers by reading our Impact Report below and taking a moment to share it with your network – let’s make a difference in 2024!

Orchestras for All seeks new headquarters – join the search!

As Orchestras for All (OFA) continues to expand and develop its reach and impact across the UK, the charity finds itself in an exciting new phase of growth and development.

We are now on the lookout for new headquarters that will provide much more to us than just office space; our new location could also be a hub for forging new partnerships, nurturing existing relationships and fostering creativity within the sectors of music education, mental health and wellbeing, youth leadership and engagement.

We invite you, our incredible network of supporters and followers, to join us on our search by sharing your expert insights and recommendations for where our new headquarters could be based.

A Modulo participant expertly conducting their ensemble

What are we looking for?

Our vision is a country where all young people have access to the joy and benefits of orchestral music making, regardless of the daily challenges they might be facing.

By relocating to a vibrant location that takes OFA’s strategy into consideration, we aim to amplify our charity’s impact, celebrate being truly national and strengthen our connections within the sectors we are so deeply passionate about.

We have now embraced a hybrid model of working and are based all across the UK, so our new headquarters will not merely offer us a physical space, it will also provide us with the opportunity to collaborate and innovate.

We are envisioning an area of the country where like-minded organisations and individuals can come together to share ideas, knowledge and resources. It should be a dynamic space, where music educators, mental health and wellbeing advocates, youth leaders and artists alike can join forces to create a positive ripple effect across the UK.

Anthony and the powerful National Orchestra for All (NOFA) trumpet section

We need your help!

We believe that the best suggestions often come from the participants of our programmes and the supporters who believe in our cause. Whether you’re a young person, teacher or tutor working with OFA, or someone who values the impact of music on young lives, your input is truly invaluable to us.

• Can you suggest a city or town that is well-known for its vibrant arts scene and/or commitment to young people?

• Is there a region in which the passion for music and wellbeing of young people seamlessly unite?

• Perhaps you have a personal connection to a place or organisation that you feel we should be teaming up with, to ensure our vision and mission become a reality?

We hope this callout will result in an exciting list of locations and partners that we can explore for our relocation, or give us food for thought about how we might engage with other brilliant organisations.

Orchestras for All Artistic director and conductor, Emma, leading the way with her violin

How to get involved

There are three key ways you can contribute:

1. Share your suggestions: Please complete the short questionnaire below, offering recommendations for where our new headquarters should be and explain why you think a particular place would be an ideal fit;

2. Spread the word: Encourage your friends, family and colleagues to participate. The more diverse and wide-ranging the suggestions, the better!

3. Engage in the conversation: Follow our social media updates and join the ongoing conversation about our potential new headquarters’ location. Your insights and perspectives are incredibly valuable.

Your recommendations will not only help to shape our future; they will also enable us to have a positive and lasting impact on the lives of young people nationwide.

We will research each and every recommendation, assessing their potential within the topics of strategic and partnership opportunity, accessibility, financial and environmental opportunity and impact, culture and values as well as participant and audience development.

Thank you for being part of our mission – stay tuned for updates and we can't wait to see where this collaborative effort takes us! Together, we can continue to smash down the barriers to music making that so many young people face every day.

Questionnaire deadline: 12pm on Thursday 28th of September

Vulnerable young musicians supported nationwide as Orchestras for All secures new Arts Council England funding

The funds will help Orchestras for All break down significant barriers to music-making for thousands of aspiring young musicians in the UK.

Orchestras for All (OFA) is delighted to announce that it has secured vital new funding from Arts Council England (ACE) to assist the charity in continuing its life-changing work.

Also known as the National Portfolio Organisation (NPO) Transfer Programme, the generous funding supports arts organisations to ‘deliver creative and cultural activity which delivers against the Outcomes in Let’s Create, Arts Council England’s Strategy (2020-30)’.

The news comes as ACE shares its plans to invest £446 million per annum in 990 organisations (including 276 new organisations of all shapes and sizes) over the next three years, following 1,700 applications to the programme – enabling even more people to enjoy the comfort, distraction and everyday wonders afforded to local communities through creativity and culture during tough economic times and wherever they are.

As part of the programme, successful organisations must be open to moving their registered office out of London to another UK-based location by October 2024 – this will present exciting new opportunities for OFA, which has fully embraced a remote/hybrid working pattern following the devastating impact of the coronavirus pandemic on the music education sector.

Benefits of the transfer might include strengthening the charity’s national team, effective new ways of staying connected, in-person meetings in different cities, exploring deeper partnerships with music venues and regions as well as allowing team members to collaborate in a way that works best for them, taking into account accessibility, flexibility and wellbeing.

National Orchestra for All Ambassador and young carer, Isaac, said: “This is fantastic news. I’m so glad that OFA’s got the funding to improve the lives of young people – just like they did for me. Their commitment for making a space where young people can thrive both musically and socially is unique.”

Read more: Musical Chairs 2022: experience the magic of performing with a live symphony orchestra at this epic one-day fundraiser >

Pictured: Young musicians from schools across the UK gather for OFA’s Modulo Programme at the RNCM

Youth Board member, Mars, added: “A big thank you to Arts Council England; NOFA has been something I’ve looked forward to year after year and thanks to this grant, I know NOFA will be able to inspire and empower a new generation of musicians.”

Over the past decade, OFA has strived to become fully national, broadening and diversifying its core team while also recruiting young musicians, maintained schools, music leaders and volunteers from across the country for its three powerful programmes.

Its inclusive, non-auditioned National Orchestra for All (NOFA) brings together 100 young musicians from across the UK who would otherwise be unable to access musical opportunities – whether that’s due to a physical disability, mental health condition, economic deprivation or rural isolation – while the charity’s Modulo and Music Leadership Training programmes equip under-resourced music leaders with the vital tools and support they need to run their own inclusive ensembles in schools and local communities.

Discover OFA’s programmes >

Former National Orchestra for All trumpeter, Kate, said: “It’s brilliant to hear that we’ve been chosen for ACE’s funding. It makes a massive difference to how we can deliver and create our programmes to those who need it most. It’s also amazing to see our wee organisation get recognised for the tireless work that we do – our young people are craicer!”

NOFA Ambassador and woodwind player, Joe, commented: “OFA will do so much with that amazing money. The Arts Council proves yet again that there will always be room for the creative industry and I’m so glad that we can go forward as part of that movement.”

OFA’s Executive Director, Nick Thorne, added: “This is a milestone moment for Orchestras for All; thank you to Arts Council England for believing in our vision to break down barriers to give all young people the life-changing experience of making music together. Thank you to every single person that has supported us on our journey so far, but special mention from me to the young people we work with who inspire me each day through their passion, energy and barrier-smashing enthusiasm towards our work.

“While we take this moment to celebrate, the journey doesn’t end here – our mission just becomes more important and support from current and new donors becomes ever more vital. Please join us as we continue to champion inclusive music-making nationwide.”

On behalf of everyone at Orchestras for All, we would like to thank Arts Council England for this incredible opportunity and our thoughts are with other organisations across the arts sector who will be receiving news today.

Please make a difference to a young musician’s life and donate today >

Orchestras for All wins award for Outstanding Musical Initiative at the Music and Drama Education Awards 2022

“The judges were impressed by this initiative’s commitment to a truly inclusive experience for its members.”

Orchestras for All (OFA) is excited to announce that it has won the award for Outstanding Musical Initiative at the Music and Drama Education Awards 2022.

The prestigious accolade – sponsored this year by the Royal Marines Band Service – recognises any project in the UK that ‘has demonstrably improved music provision for students of any age,’ which can be run within an educational setting, charitably or commercially, and with any genre of music as its focus.

Taking place at the London Marriott Hotel Grosvenor Square, last night’s glittering ceremony – hosted by Classic FM presenter, Myleene Klass – was attended by a team of individuals, schools, charities and organisations from all across the country, to celebrate the positive impact that these two key performing arts have on our lives.

Commending OFA for its efforts during the pandemic, Klass told audience members: “The judges were impressed by this initiative’s commitment to a truly inclusive experience for its members as well as a commitment to engaging with, and truly understanding, who they are trying to reach. They were also impressed by the team’s immediate and flexible response to lockdown.”

Meanwhile, Major Tom Crane of The Band of Her Majesty’s Royal Marines, Collingwood – known worldwide for their musical morale boosters – made the big announcement as one of the event’s main sponsors.

Read more: Modulo resumes live events as music teachers and students join classrooms nationwide in ‘joyful’ music-making programme >

Awards host and Classic FM presenter, Myleene Klass, joins OFA in celebrating the win (Credit: Twitter)

In the UK, thousands of young people aged 11-18 currently face significant barriers to orchestral music-making – whether that’s due to a physical disability, mental health condition, economic deprivation or rural isolation – and this has been exacerbated by the devastating impact of the coronavirus pandemic.

Meet Orchestras for All’s inspiring young musicians >

Orchestras for All’s vision is a country where any young person can have access to music-making – and to help achieve this, it has launched three powerful programmes: National Orchestra for All (the only fully inclusive, non-auditioned national youth orchestra in the world), Modulo, which kickstarts a vibrant music-making culture in schools and music hubs, and its Music Leadership Training course, supporting under-resourced teachers across the country.

NOFA ambassador, Kate, said: “A massive thank you for this award! It’s amazing to see OFA being recognised on a respected stage for all the amazing work that we do. However, this wouldn’t have been possible without our inspiring members and their feedback as well as our staff, who work tirelessly to make access to music-making a more normalised opportunity in so many different societies.”

NOFA ambassador, Joe, commented: “Winning this award really does go to show just how committed OFA is to providing amazing support to individuals and schools around the country. We are so appreciative that our work for increasing inclusion and access to music has been seen and heard so widely! A tremendous thanks to those who have supported us through to winning this wonderful award.”

Orchestras for All takes to the stage with The Band of Her Majesty’s Royal Marines (Credit: Twitter)

Read Orchestras for All’s Impact Report 2020-2021 >

OFA’s Executive Director, Nick Thorne, added: “I have so much pride and admiration in everything that Orchestras for All has achieved during the pandemic and this recognition from the Music and Drama Education Awards goes out to each and every young musician, teacher, school, funder, partner, volunteer, tutor, trustee, freelancer and team member for their part.”

He continued: “It takes a village to raise a musician and without everyone, we wouldn’t be able to reach those most vulnerable young people who are too often excluded from participating in musical opportunities. My dream is that one day, organisations like Orchestras for All need not focus on breaking down barriers to music-making and that all organisations, schools, charities and musical opportunities in the UK are fully inclusive, accessible and open to all.”

Joining Nick for the memorable occasion were Emily Sayers and Kate Danielson, who both celebrate eight years of being on OFA’s Board of Trustees and will be stepping down after their final term this year.

The unsung heroes of the organisation, Kate and Emily, joined the charity at the very start and believed in its mission from day one. Between them, they have volunteered weeks of their time and supported the team to make OFA the impactful charity that it is today.  

OFA’s Executive Director, Nick Thorne, celebrates the award win with trustees Kate Danielson and Emily Sayers

Shortlisted alongside Orchestras for All in the Outstanding Musical Initiative category were Durham Music’s Big Play 2021, Lockdown Piping Club, Manor Music City, MiSST, Rap Club, Warwick Music Group (for Buzz21), and Young Voices, for YV Biggest Sing 2021.

Other worthy winners on the night included David Lewis, who took home the Lifetime Achievement Award, Ullswater Community College, for Outstanding School Music Department, and Theatre31, who won the Drama & Theatre Magazine Editor’s Award, to name but a few.

On behalf of everyone at Orchestras for All, thank you to those who have been part of our incredible music-making journey so far – our work and this award wouldn’t have been possible without you.

To support OFA’s life-changing programmes, please donate today >

Esteemed music educator Professor Nate Holder announced as first host in free webinar series for music leaders

“I think it’s important for us to understand why we do the things that we do, in order to make it better for the young people around us.”

Orchestras for All (OFA) is delighted to announce that leading saxophonist, author, speaker and music education consultant, Professor Nate Holder, will be hosting the launch of its live webinar series for 2021-2022.

The series, which commences on 7 December, forms part of Music Leadership Training (MLT) – the charity’s continuing professional development (CPD) programme, specially designed to equip music teachers and leaders with the tools and skills they need to set up and run inclusive ensembles in under-resourced schools and community groups.

With thousands of music educators across the UK still facing significant challenges as a direct result of the coronavirus pandemic, the need to provide support and improve access to music-making is growing.

Nate, who is currently serving as International Chair of Music Education at the Royal Northern College of Music, is perhaps best known for penning several children’s books – including I Wish I Didn’t Quit: Music Lessons (2018) and Where Are All The Black Female Composers (2020).

Ahead of the event, Nate said: “I’m really happy to be doing a session in association with Orchestras for All, called ‘Music educators: why do we do what we do?’. That’s a question I ask myself often. 

“Why do I do what I do? Why do I do it in the way that I do it? I think it’s important for us as we’re learning and growing in 2021 to understand why we do the things that we do, in order to make it better for the young people around us.”

Read more: ‘National Orchestra for All is so diverse – but we’re united by a note,’ says 19-year-old trumpeter >

Pictured: Professor Nate Holder

To address this topic, Nate’s live Zoom session will be exploring key topics such as whiteness in music education, diversity versus decolonisation and how relationships form an integral part of a music educator’s practise.

He said: “The focus of this session is really going to look at our practises and try to attempt to break down certain misconceptions and broaden our horizons, so that the young people that we work with can feel the benefit of a more inclusive and diverse education.

“Of course, this is just one session and one session won’t fix everything, but I think it’s important to start somewhere.”

Alongside his expert insights, attendees will be encouraged to interact during the event and share their personal experiences in music education, with the key aim of making the industry a better and safer place for all.

Learn more about Music Leadership Training >

To complement OFA’s webinar series, 10 online modules are also available as part of MLT – providing flexible, hands-on training through short videos filmed in real life contexts and in partnership with leading practitioners.

As well as covering traditional conducting techniques, the course invites users to reflect on approaches to group composing, learning music by ear, teaching music without notation and arranging music for inclusive ensembles. 

Conductor Sian Edwards shares her expertise with participants during a Music Leadership Training session

In 2020-2021, a total of 190 participants enjoyed virtual and face-to-face sessions. Tor, a music teacher and recent MLT participant, said: “It was all so, so useful! I came away with new techniques for conducting in 2/4, which will be invaluable. The bit where Sian [Edwards] focused on my piece was also immensely helpful – very personalised and inspiring.

“This was exactly what I needed to keep my spark about ensembles during a tough time for music at schools. It has given me renewed energy for getting our groups back again as soon as possible. I am inspired to do more conducting training because of this, so thank you to Sian and Orchestras for All for arranging the training.”

While OFA’s forthcoming webinar series is free to attend, participants are invited to donate what they can to help the charity continue its life-changing work.

Music educators: why do we do what we do? will be available to livestream via Zoom on Tuesday, 7 December 2021 at 17:30 GMT.

Sign up for Professor Nate Holder’s webinar >

‘Learning by ear can develop an ensemble’s creative side’, says folk musician Emily Askew

Emily Askew joins Orchestras for All for a virtual tea break to discuss lockdown, nyckelharpas and why aural leadership is the way forward…

From fiddles and recorders to pianos and bagpipes, esteemed folk musician and music educator Emily Askew certainly knows a thing or two when it comes to playing musical instruments.

Specialising in folk and early music, Emily is best known for performing in The Emily Askew Band and as part of acclaimed English folk duo, The Askew Sisters, while also leading the London Youth Folk Ensemble, arranged by The English Folk Dance and Song Society.

A champion of aural learning, Emily will be hosting a free live webinar in collaboration with Orchestras for All, Learning by Ear Ensemble Leadership, via Zoom on Thursday 25 March at 5:00pm.

Ahead of the event, Emily told Orchestras for All: “Aural leadership is teaching without any written notation in front of you. Participants use their ears to take direction rather than reading, which can develop an ensemble’s awareness of the musicians playing around them – especially if their heads aren’t buried in written music!”

Read more: 17 things you’ll only understand if you’ve played in a youth orchestra >

Emily Askew, music leader at The English Folk Dance and Song Society

She continued: “It’s a very practical approach to teaching chords, harmony and music theory, and I find it really helps develop an ensemble’s creative side and being more open to improvisation and creating their own arrangements.

“Any instruments can be used! You can take in so much more detail about the music style of the person teaching you, which is too detailed to be written down in notation.”

Boost your aural leadership skills >

The live webinar comes as Orchestras for All launches its new Music Leadership Training Programme – specially designed to provide music leaders and teachers working in state secondary schools, music hubs and community music services with new skills.

The online session also follows two fully booked webinars led by Sian Edwards, OFA’s Artistic Patron and Head of Conducting at the Royal Academy of Music in London.

Sian Edwards, Orchestras for All’s Artistic Patron

Sharing her three top tips for aspiring musicians, Emily said: “Listen to as many different styles of music as you can, even genres you think you won’t like – you can learn so much and take influence from other musicians even if they don’t play your instrument.

“It’s easier said than done during a pandemic, but also try and perform with as many other musicians as you can – you can take so much from practically playing with others. And most importantly, enjoy yourself!”

Meanwhile, her advice to teachers is: ”Keep challenging yourself. There have been times where I’ve felt stuck in a rut but then I’ve observed other music leaders or musicians and it’s given me new ideas and increased my enthusiasm and enjoyment in my work. Learning something new also keeps me in touch with what it’s like to be a student.”

Since graduating at the Guildhall School of Music and Drama, Emily has released three studio albums and toured extensively with Askew Sisters. She has also performed as principal recorder at prestigious English opera house, Glyndebourne, and as a multi-instrumentalist in productions at the Apollo Theatre in London’s West End and Shakespeare’s Globe.

Sign up for Emily Askew’s live webinar >

Orchestras for All’s Artistic Patron, Sian Edwards, shares her expert advice on how to lead an ensemble

Royal Academy of Music conductor, Sian Edwards, took to Zoom earlier this week to impart her ensemble leadership wisdom...

Whether you’ve never conducted before or are a little rusty after spending a year in lockdown, there’s plenty to be learned from Sian Edwards.

Born in West Sussex, the English musician is known for her inspiring work as Head of Conducting at the Royal Academy of Music in London, where she currently directs the Masters course and Sorrell Women’s Conducting Programme.

To celebrate the recent launch of Orchestras for All’s exciting new Music Leadership Training programme – specially designed to boost the skills of music teachers and community leaders – Sian joined online audiences for a webinar yesterday (23 February) to share her conducting experience.

Before the event, we caught up with the musical maestro (see video above) to find out more about how to work with an inclusive ensemble, handy techniques for teachers and why young people should join an orchestra.

Read more: Music Leadership Training programme launches with exclusive series of webinars >

“Just remember that music is all about breath,” says music educator Sian Edwards

When asked what piece of advice she would give to a new music leader, Sian said: “Just remember that music is all about breath. Your first in-breath and how you start the music is going to have so much influence on how the music sounds – even if your musicians aren’t really watching you at first!

“I think that’s a great basis for both the players and the conductors to start off from, and it makes us realise we’re all coming from a fundamentally very human place and unifies everybody straight away.”

Browse Orchestras for All’s upcoming webinars >

Speaking to young people about why they should join an orchestra, she added: “If you’re playing an instrument, it’s great to be playing with other people!

“Sometimes orchestras can seem very noisy and the sound isn’t in tune, so it can be quite a hard thing to get started with but as soon as you get used to the fact that you’re part of a group all working together, you’re going to get something at the end that makes you really quite proud.”

Sian Edwards, Head of Conducting at the Royal Academy of Music

Since graduating from the Royal Northern College of Music, Sian’s achievements have included conducting Kurt Weill’s Mahagonny for Scottish Opera (1986),  Verdi’s La traviata at Glyndebourne (1987) and the world premiere of Mark-Anthony Turnage’s operatic masterpiece, Greek, at the Munich Festival in 1988.

In the same year, she made her debut at the Royal Opera House to lead musical performances of Tippett’s The Knot Garden and has also worked as Music Director at English National Opera, where she conducted Prokofiev’s The Gambler.

Find out more about Music Leadership Training >

‘We need to teach young people with authenticity’, says music leader

Anna Williams-Haines, Head of Programmes at Orchestras for All, joins tutors and young people for the first Modulo session of the year

Orchestras for All has just launched its Music Leadership Programme and an exciting series of webinars to develop teachers’ skills, so we caught up with Head of Programmes Anna Williams-Haines to find out more…

First things first: what was the last piece of music you enjoyed listening to, and why?

Just this morning I was listening to a recording of the Ukulele Orchestra of Great Britain playing their cover of The Good, The Bad and The Ugly theme. It’s a very cheery, innovative and interesting arrangement, so I really enjoyed it. It’s just a bit silly and fun, but clever! 

Tell us about your previous experience as a music teacher.

When I first started out in my career, I trained with the Teach First programme and worked for two years in a secondary school in the West Midlands, before moving to London and working full-time in another secondary school for a year.

I’d also been getting involved with National Orchestra for All in its early stages and nominated some of the young people I taught to become inaugural NOFA members!

After three years of teaching, an opportunity came up to work with OFA’s founder, Marianna, and together we developed the Modulo Programme.

Read more: ‘An orchestra is a representation of an effective society’, says Artistic Director >

Although I had a music degree, I didn’t have much experience in actually leading an ensemble – something we’ve found is the experience of lots of music teachers, so we launched Modulo to help other teachers like me develop this skill and build up a culture of music making in schools. In my current role I oversee NOFA and Modulo – and now, our shiny new Music Leadership Training programme!

Orchestras for All’s Artistic Patron, Sian Edwards, shares her expertise on conducting

Are there any challenges for music teachers in relation to inclusion and diversity?

One of the most important things to balance in music education is making space to explore students' musical interests alongside encouraging them to discover music outside their comfort zone.

It’s important that music is taught with real authenticity and to share the interesting, and sometimes challenging, journeys music has been on. It’s also important to teach young people that all musical genres and backgrounds are equally valid and equally interesting. 

Were there any standout moments while working in education?

For me, teaching has always been about making great music. I think the best way you can learn about music is to experience it, not just write or speak about it. Sometimes you have those little lightbulb moments with a young person who didn’t previously think they were particularly musical, but then showed amazing musical progress and grew in confidence.

I have a lot of happy memories of school assembly and class performances that were those significant ‘mini moments’ of progress for students! It’s so important to give them that encouragement and validation, particularly if they’re struggling in other subjects or have special needs but are excelling in music.

Giving young people the opportunity to perform and share their skills on larger scales was another really important part of the role for me: bringing a whole class to perform at the Barbican on their ukuleles was a special moment where they surprised themselves – and their parents – with what they were capable of. 

Read more: Music podcast highlights need ‘to take meaningful action against inequality’ >

You’ve just launched Music Leadership Training at OFA – what's it all about?

We want to kickstart an open culture of music-making in schools that enables teachers and young people to create new ensembles regardless of type of instrument or skill level.

It can often feel like a struggle for teachers who may have the musical skills but lack in confidence because they’ve never had any formal conducting training at university or gone down the traditional academic route. At the heart of MLT is a sense that everybody has the potential to be an ensemble leader. 

It’s all about having the confidence to lead fun and impactful rehearsals, personalised to the needs of the people in your ensemble, and planning well-arranged repertoire that suits a wide range of skill levels. All music leaders have the potential to progress and develop their artistic vision for an ensemble; we want to help guide them on this journey. 

While the modules are designed to suit a music leader for ensembles at a wide range of skill levels, the content is what we view as good practice for ensemble leadership, whether you’re working with a beginner violin group or the London Symphony Orchestra!

Which modules have been popular with music teachers so far?

The first module, ‘Preparing to Lead an Ensemble’, is actually free to access, so that one has been very popular! It’s a great introduction to the three elements explored across the modules: conducting, structuring an ensemble rehearsal and approaches to arranging a piece of music for mixed-skill levels. 

We’ve also got a module called ‘Learning by Ear’, which is all about aural learning approaches and thanks to our amazing partners, The English Folk Dance and Song Society, this will be free to access as well. It’s a handy step-by-step guide to creating a performance  without using any notation – and we’ve had some really positive feedback.

“I would think about who is in your group, what their individual needs are and how you can support each one of them in a personalised way”, says Anna William-Haines.

What’s the one piece of advice you would give to other music teachers who want to run an inclusive ensemble?

I would think about who is in your group, what their individual needs are and how you can support each one of them in a personalised way to have a really enjoyable time during rehearsals. Of course, you want an amazing performance to come out of it, but rehearsals are where you build the skills of young people and the musical identity of your ensemble. 

One of our other MLT modules, ‘Inclusive Rehearsals’, can help teachers and music leaders with this specifically. It includes a fictional case study of a school with young people who have specific needs, and takes you on a journey to help you reflect on how to make an ensemble rehearsal work for them.

And finally, what are your plans for 2021 – do you have any exciting projects in the pipeline?

Oh yes, we’ve just launched our new season of the Modulo Programme – we’re really excited about it and even though we can’t meet up in person this time, the pandemic won’t be stopping us! We’ll be running everything online for as long as we need to, and everyone aged 11-18 who attends a state secondary school is invited to join us. 

It’s free to sign up in 2021 and you’ll even have the opportunity to join online classes with our wonderful orchestra partners – the City of London Sinfonia, BBC Philharmonic and City of Birmingham Symphony Orchestra. We’ve also planned an exclusive series of live webinars on music leadership training for this year (see below for dates). The dream is to do some of these musical activities in person by the summer – but if not, we’ll be sure to find a way! 

Are you a secondary school teacher or music leader and looking to boost your skills? Sign up to our Music Leadership Training programme and stay tuned for our forthcoming series of webinars.

Orchestras for All launches Music Leadership Training Programme with exclusive series of webinars

From free online classes to webinars hosted by world-renowned classical musicians, here’s everything you need to know about Music Leadership Training…

Orchestras for All is excited to announce the launch of its Music Leadership Training Programme – an inspiring set of resources specially designed to boost the skills of music leaders and teachers working in state secondary schools, music hubs /services and community music contexts.

The new initiative and continuing professional development (CPD) programme aims to equip teachers and music leaders with the vital tools and strategies they need to start or develop an ensemble in their school or local community.

Expert training is provided through 10 online modules, covering everything from brushing up your conducting and finding (or creating) suitable music for your ensemble to top tips on how to run an inclusive rehearsal.

Read more: 13 of the best ways to make your youth orchestra more inclusive >

Sian Edwards, Patron at Orchestras for All, shares her expert advice on conducting

You may have already encountered some of our online modules. We’re really pleased to have expanded these with four handy new courses to get stuck into: Conducting Skills 3, Classroom Band, Group Composing and Making Notation Accessible.

Meanwhile, the Programme’s popular introductory module, Preparing to Lead an Ensemble, is now available to enjoy for free – along with Learning by Ear, thanks to support from Orchestra for All’s partner, the English Folk Dance and Song Society.

Sign up to Music Leadership Training >

As part of the launch there will also be an exclusive series of free live webinars, with guest appearances from some of the world’s most respected musicians and music educators.

Taking place via Zoom, the first session, Refresh Your Conducting Skills, is in two parts – with Part 1 next week (23 February) and Part 2 on 2 March. The sessions will be hosted by Sian Edwards, Orchestras for All’s Patron and Head of Conducting at the Royal Academy of Music in London. Participants interested in joining the first session must register by midday on 19 February.

Speaking about the upcoming webinar, Sian said: “I feel strongly that any orchestra or ensemble, of any skill level, deserves great leadership – and can be transformed by it.

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“Music Leadership Training gives music teachers and music leaders the skills and the confidence they need to stand up in front of an ensemble in their school or community and be that great leader. I am pleased to share the skills and knowledge I have with the extraordinary, dedicated people working at the front line in their schools and communities.”

On 25 March, music leaders are invited to join us for another free webinar on Learning By Ear Ensemble Leadership, led by multi-instrumentalist and composer Emily Askew – helping music leaders develop their confidence in group music making without notation and unlocking musicians’ potential.

Emily Askew shares her top five tips on teaching music aurally

Emily commented: “Aural learning is at the heart of folk music making, but the skills involved are crucial for music making in all contexts and genres.

“Leading an ensemble aurally unlocks musicians' musicianship and ensemble skills, opening up the ensemble for players who don't use western notation or are at an early stage in learning.”

By supporting state secondary school music teachers and music leaders through its new initiative, Orchestras for All aims to break down significant barriers to ensemble music making for 11-18 year olds, whether that’s due to a lack of social or financial support, a physical disability or mental health challenges.

Other live webinars in the series are still to be announced.

Orchestras for All would like to thank the Paul Hamlyn Foundation, the Rachel Baker Memorial Charity and the English Folk Dance and Song Society for their support in building Music Leadership Training.

Find out more and sign up to our webinars >