7 ways to support autistic musicians in your youth orchestra

Being autistic is a young musician’s superpower – and with the right level of support, guidance and opportunity, they can thrive.

In the UK, an estimated 700,000 people have a diagnosis of autism, with one in 100 of those being our young people.

Also known as ASD (autism spectrum disorder), ASC (autism spectrum condition) and Asperger’s (or Asperger syndrome) – often used to describe autistic people with above average intelligence – autism isn’t a medical condition, it just means that your brain works in a different way to ‘neurotypical’ people. It exists on a spectrum, so everyone with autism is different; some may need little or no support, whereas others require daily help from a parent or carer.

Famous musicians with autism, or thought to have had autism, include Britain’s Got Talent winner, Susan Boyle, Aphex Twin’s Richard James, singer-songwriter James Taylor, rapper Eminem and multi-instrumentalist, Ladyhawke, to name but a few – not to mention the late great composers, Mozart and Beethoven.

At Orchestras for All, we celebrate each and every one of the young people in our diverse, music-making family – this means championing autistic members as well as those who may be living with a physical disability, learning difficulty or mental health condition.

Recent case studies from the National Autistic Society have also shown just how powerful and effective music therapy can be for autistic musicians, having a positive impact on their overall wellbeing and development as well as providing a unique way to connect. So, here we share just a few ways you can support autistic musicians in your youth orchestra…

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

1.    Be aware of your environment

With autism, everyday sensory information is processed differently. Some people can be oversensitive to the senses, while others can be undersensitive or have a mixture of the two.

During your orchestra rehearsals and live events, avoid the use of fluorescent or strobe lighting to minimise the risk of epileptic seizures, provide earplugs if needed, shut doors and windows to reduce external sounds, and prepare a young person in advance if you plan to visit noisy or crowded places. Making the environment as fragrance-free as possible and allowing your musicians to rehearse in clothes they feel comfortable in can also be helpful.

National Orchestra for All’s Wellbeing Lead, Elli, and her son Lucas, an autistic trumpet player, told us: “People with autism may move around or fidget – do not assume this a sign of boredom or disengagement but a way of staying focused. While some will enjoy loud music, they may find other loud sounds (like people shouting) difficult, and many prefer to sit on the end of a row.”

Credit: RuiYing Wang, Royal Northern College of Music

2.    Set up quiet spaces

Always ensure there is a quiet room for your orchestra members to take a few moments out, should they need a quick break to relax. If available, rooms with little clutter and a green, blue, pink, soft orange or neutral interior can be particularly comforting, and you may wish to consider playing soothing sounds.

Whether you’re holding a rehearsal, at a concert venue or meeting with your young people somewhere externally, these designated areas of calm can be extremely helpful if your autistic musicians are feeling overstimulated, providing them with a safe space to manage their senses before returning to the group.

3.    Structure is crucial

Wherever possible, try to establish a regular routine and provide structure. Share any schedules well in advance, letting your young musicians know what time rehearsals will start and finish as well as timings for any upcoming events and when members can eat or take a break.

Staying consistent makes your activity more predictable for those with autism, and using visual cues can also be helpful.

4. Be friendly and approachable

For many autistic people, social interaction and developing new friendships can often feel like a struggle, so having a positive team of staff on hand – perhaps even a wellbeing team, like at Orchestras for All – can be reassuring for those dealing with anxiety and uncertainty.

Always lend an ear if needed and consider arranging for a chaperone to accompany autistic orchestra members to, and during, your live events, helping them to find their way around a new venue or relax them in unfamiliar social situations.

5. Communication is key

Try to be direct in your communication, giving short, concise instructions to ensure your autistic musicians clearly understand what is required of them and provide 1:1 explanations if needed. Avoid the use of sarcasm (which can be hard to pick up on) and relying too heavily on facial expressions or body language.

Offer multiple ways for young people to provide feedback – while verbal communication might be easy for some, others may prefer to share their ideas in written form or recorded as a video or audio clip.

You could also help by breaking down musical activities into small, easy-to-manage steps, providing coloured filters or sheet music printed on coloured paper, and using the ‘arm’s-length rule’ to judge personal space when interacting.

6. Create an inclusive culture

At Orchestras for All, fostering a culture of music-making that is free of judgment is important to us. We’ve seen firsthand through our three life-changing programmes just how powerful this can be, increasing levels of productivity and allowing young people to confidently express themselves with tutors as well as neighbours in their section.

Welcome musicians into your ensemble from diverse backgrounds, who are of mixed ability and play any instrument (alongside those traditionally found in an orchestra), and implement inclusive recruitment strategies for staff to help young people relate to those around them.

7. Remember, each musician is truly unique

Finally, despite some of the barriers that autistic people may face, there are so many valuable gifts and inspiring qualities that can come with neurodiversity.

National Orchestra for All’s Wellbeing Lead, Elli, said: “Young people with autistic spectrum disorders have extraordinary minds. Many have an exceptional talent for music. I have had the privilege of working with autistic young people for many years and continually see strengths and abilities that make them great musicians.

“These include memorising and learning information quickly, thinking and learning in a visual way, being precise and detail-orientated, exceptional honesty and reliability as well as being dependable – especially with schedules and routines. They also have a drive for perfection and order, along with a strong capability for alternate problem-solving and a rare freshness and sense of wonderment.”

We believe that being autistic is a young musician’s superpower – and with the right level of support, guidance and opportunity, they can thrive. So, continue to nurture your autistic peers; your youth orchestra will be much richer for it.

For further information about autism, or if you are autistic and would like to find the right support, the NHS website shares a wide range of resources – from local groups and charities, to social media forums.

To empower aspiring young musicians across the UK, please donate today >

13 marvellous reasons to join a Modulo orchestra at your school

Keen to experience the magic of playing in an orchestra with other like-minded students? Then look no further…

Since launching a decade ago, Orchestras for All’s Modulo Programme has connected hundreds of young people and music leaders nationwide – and it’s been pure joy.

The bright initiative supports teachers from maintained schools and music hub leaders to set up and develop a ‘Modulo’, a small ensemble of four to 15 students aged 11-18, before inviting them to team up with other Modulos from across the country and play as one epic orchestra.

But what makes being part of a Modulo so special? Here are just a few reasons why you should consider joining this much-loved, music-making family…

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

1. Anyone can join!

   While entry to most traditional orchestras requires players to have reached a certain level of musical skill, a ‘Modulo’ ensemble welcomes students of all skill levels and experience.

2. Meet other musicians

You’ll gain access to a wide network of young people participating in other UK-based Modulos, so it’s a great way to make new friends!

3. You can play any instrument

Whether you’re just starting out on the guitar, would love to share your passion for the ukulele or are a dab hand on the drums, all instruments are welcome at Modulo.

4. Play beautiful music

This season, our diverse repertoire has included Alice Mary Smith’s iconic Symphony in A minor, alongside more modern, genre-spanning pieces like ‘Crossfade’, penned by British composer, Jack McNeill. A recent participant said: “Modulo is really interesting – I got to learn new pieces!”

5. Discover new genres

Modulo students don’t just enjoy playing or listening to classical music – here we appreciate all musical genres. From folk and drill, to punk rock (and everything in between), get chatting to your orchestra neighbour and you might just discover music you’d never explored before.

6. Conduct like a pro

Ever fancied trying your hand at conducting? At our regional events, you’ll have the opportunity to stand up in front of your peers, take the lead and experience what it feels like to be a musical maestro on stage!

7. Perform without a crowd

You can experience the joy of playing music with others – without the pressure of a formal concert. One Modulo student said: “We don’t have to perform in front of a lot of people, like a whole audience. It’s a good place!”

8. Improve your mood

Whether you’re having a hard day at school, struggling with a mental health condition or simply in need of an energy boost, listening to music has been scientifically proven to lower your levels of cortisol (also known as the stress hormone), which can help you to cope during tough times.

9. Get creative

Our Modulo Meets aren’t just about performing; there are plenty of creative composition workshops for you to get stuck into, too – all led by professionals in the field. Here you’ll learn about rhythm, instrumentation and adding texture to a melody, how to tell a story through your music, and much more.

10.  Express yourself!

Often, music can say what words can’t – bust out that bold personality of yours in the brass, share a playful flutter on the flute, unleash a powerful sound over in percussion or soothe your orchestra friends with a sweet violin melody.

11.  We’ll support you throughout

Are you worried about losing your place or getting nervous playing to a new group? That’s completely natural and the chances are, there are other students who feel the same. That’s why during our regional and national meets, we’ll have a team of friendly wellbeing and orchestral tutors on hand to help you every step of the way.

12. Boost your skills

As well as improving your musical ability, joining a Modulo can help you gain valuable new social and communication skills, teach you how to collaborate with others as part of a team and even enhance your memory. What’s not to love?

13. Enjoy yourself!

And finally, in the words of a Modulo student who recently attended our London session: “It’s really fun!”

To support our powerful music-making programmes, please donate today >

7 female composers you really need on your radar

Over the decades, some of the world’s best-loved musical masterpieces have been written by women – and we’re here to celebrate them.

It’s no secret that in music, women are largely underrepresented – and now with the coronavirus pandemic and its devastating effect on the industry, it’s never been more important for us to address this issue.

According to new research from Donne, which analyses composers’ works scheduled by 100 orchestras from 27 different countries, there is still much to be done.

Titled ‘Equality and Diversity in Concert Halls’, the alarming research has shown that of the 1,505 concerts performed from 2019-2020, only 123 included works written by female composers – that’s just 11.45 per cent.

And perhaps more worryingly, only 747 of the 14,747 compositions scheduled by the 100 orchestras were composed by women (a total of 5 per cent), with only 1.11 per cent of those pieces written by Black and Asian women.

At Orchestras for All, we’re here to champion female composers every step of the way, so here are seven inspiring women who you should really know about…

Read more: 17 LGBTQIA+ musicians who totally rock our world >

1. Ethel Smyth

Born into a military family in 1858, English composer and political activist, Dame Ethel Smyth, is regarded as one of the most distinguished composers of the 20th century. While studying at the Leipzig Conservatory, her spectacular work was encouraged by two other well known musicians: Johannes Brahms and Antonín Dvořák. Ethel first rose to fame after penning the score for Mass in D (1893), but her most famous work is 1906 opera, The Wreckers. Owing to her strong involvement in the women’s suffrage movement, Ethel’s uplifting March of the Women (1911) was also adopted as the anthem of the suffragettes.

2. Alice Mary Smith

Alice Mary Smith, also known by her married name, Alice Mary Meadows White, was an English composer who published her first song aged 18. Her major works include two symphonies, six concert overtures, an operetta and several choral works, among many others. Alice studied at The Royal Academy of Music (where she would later become a professor) and became the first known British woman to compose a symphony, with her Symphony No. 1 in C minor. Some of her other notable compositions include ‘Clarinet Sonata’ and ‘Duo Concertante for Pianoforte and Clarinet in A’. Since 2010, Smith’s manuscripts have been housed in the Royal Academy of Music Library.

3. Lucy Hale

Born in 1994, Lucy Hale inspired fans of orchestral music with her captivating compositions as well as being a role model for others living with disability. In 2019, Lucy became National Orchestra for All’s Inaugural Young Composer in Residence and worked closely with its diverse ensemble of 100 young musicians to create ‘Stories of Silk’ – specially written for NOFA’s 2019-2020 season, My Roots, Our Routes, exploring music inspired and influenced by human migrations and journeys. After completing her studies for a Master of Music in Composition at the Royal Northern College of Music in 2017, she was appointed as inaugural Young Composer-in-Association with BSO Resound, Bournemouth Symphony Orchestra’s disabled-led ensemble. Alongside ‘Stories of Silk’, Lucy’s striking compositions include ‘Zeta’, ‘To Run With The Tigers’ and dramatic orchestral masterpiece, ‘Against the Tide’.

4. Augusta Holmès

Irish singer, pianist and composer, Augusta Holmès, became popular with music enthusiasts during the 1800s owing to her striking symphonic and operatic works. Two of Augusta’s best-known symphonic poems include Andromede and Irlande, while her Ode triomphale was specially written to celebrate the centennial of the French Revolution in 1889, which required around 1,200 musicians. Like other female composers, such as Fanny Mendelssohn and Clara Schumann, Holmès chose to publish many of her early works under a male pseudonym (“Hermann Zenta”) as European women were not taken seriously as artists at the time.

5. Florence Price

Born in Arkansas in 1887, Florence Price was the first African American woman to have her music performed by a major symphony orchestra – in 1933. She studied at the new England Conservatory of Music, majoring in piano and organ, before working as an organist for silent film screenings and later as a composer. A deeply religious person, Florence’s music was heavily influenced by the African American church as well as Dvořák, Tchaikovsky and other European Romantic composers. Some of her best-loved compositions include Symphony No. 4 in D minor, Fantasie Negre and Mississippi River Suite.

6. Vítězslava Kaprálová

The daughter of a composer, Václav Kaprál, and singer, Viktorie Kaprálová, it’s perhaps no surprise that Czech composer and conductor, Vítězslava Kaprálová, followed in the footsteps of her musical parents. She first rose to fame in 1937 after leading the Czech Philharmonic and a year later, the BBC Orchestra in her rousing composition, Military Sinfonietta. Although Vítězslava’s untimely death at the age of 25 meant her career as a composer was short-lived, her impressive portfolio of music has been praised by music critics across Europe and includes several art songs, two piano concertos, a string quartet, an orchestral cantata and a wide selection of music for solo instruments, such as the violin, cello and piano.

7. Samantha Fernando

The music of Surrey-based composer, Samantha Fernando, stands out owing to its harmonic colour and resonance, which often gives her work a meditative quality – with Sense of Place (2014) and The Journey Between Us (2016) being two of her most popular works. Samantha’s career as a composer has gone from strength to strength in recent years, having been commissioned by numerous ensembles and festivals – including the London Sinfonietta, Aldeburgh Music, the Oxford Lieder Festival and the Philharmonia Orchestra. Currently, the multi-award-winner works as a lecturer in composition at Royal Holloway, University of London and in 2020, she took to Twitter for a live Q&A to share her musical expertise with the 100 young musicians of National Orchestra for All.

Read more: Watch young musicians’ plea as they urge public to break down barriers to music making >

Easter 2021 playlist: National Orchestra for All ambassadors share their musical favourites

National Orchestra for All ambassador, Joe, recommends listening to ‘Waterfall’ by The Stone Roses. Picture: Wallpaper Cave

Which songs will you be listening to this Easter? Here are a few to get you started…

From spending time with family and friends to hunting for chocolate eggs, there’s plenty of fun to be had in lockdown over the Easter break. What’s more, long weekends mean more opportunities to share and discover new music!

We caught up with National Orchestra for All ambassadors Joe, Megan, Phoebe and Isaac to find out which tunes they can’t get enough of…

Read more: ‘Don’t put yourself down’: 18-year-old flautist shares her advice with aspiring young musicians >

Joe: Easter is a time to feel good. It’s all about celebrating everything positive to do with spring: the renewing bloom of nature, the return of the warm sun – and eating chocolate without the guilt! 

That’s why my recommendation for your Easter Sunday playlist is a warm, feel-good song. Introducing ‘Waterfall’ by The Stone Roses. 

Discover more on National Orchestra for All >

It’s an easy listen with an upbeat tone, a major key and enough to keep you interested all the way through. It’s a Madchester song (a popular musical and cultural scene in Manchester in the 1980s), so it can fit into a number of genres from pop to indie-dance. It deserves a place in anyone’s playlist!

Megan: Over the past year, I'd say my taste in music has evolved a lot – but two artists I’ve consistently listened to are Hozier and Woodkid. 

The first song I’d recommend is ‘Sunlight’ by Hozier. It’s one of my personal favourites by him – the references to Icarus and the sun are hauntingly beautiful and when combined with the use of percussion and background vocals, it creates an eerie but powerful effect. Chances are you’ll recognise him from his other song, ‘Take me to church’, which was played a lot on the radio a few years ago!

Another song I really enjoy is ‘Conquest of Spaces’ by Woodkid. You might recognise his music if you ever watched Netflix’s Umbrella Academy – he was the one who sang ‘Run Boy Run’!

‘Sunlight’ by Hozier is a personal favourite, says Megan: ‘The references to Icarus and the sun are hauntingly beautiful.‘ Picture: Giphy

Woodkid beautifully utilises percussion in his work alongside soaring strings and other traditional orchestral instruments to create a grand atmosphere. As the track develops, the instruments all come together and swell to produce enrapturing sound. 

If you enjoy these songs, I’d 100 per cent recommend you listen to other works by those musicians – it’s all just as good and who knows, you might even discover a new favourite artist!

Please donate to Orchestras for All and make a difference to young lives >

Phoebe: If you’re looking for something a little different to listen to this Easter break, I would definitely recommend giving ‘Ex-Wives’ from SIX a listen. A new musical about Henry VIII’s six wives, Six combines traditional musical theatre with more modern techno beats.

‘Ex-Wives’ is the opening song from the show – what I really love is that each wife gets a chance to sing her own verse and then they all sing together in the chorus, creating some really cool harmonies all layered above a techno beat that you won’t be able to get out of your head for days.

There’s also a cheeky little bit of ‘Greensleeves’ in there – see if you can spot it while listening!

Isaac: My recommendations are ‘Hungarian Rhapsody No. 2’ by Franz Liszt and ‘Passing By’ by Edward Purcell. Hungarian Rhapsody is a piece I like for its drama; it has these wonderfully tense, quiet and sparse sections that alternate with triumphant, grand and virtuosic ones, and it makes it really easy to be swept along in it.

I like to watch videos of people playing it because the speed of their fingers is astounding. ‘Passing By’ is simply an intensely beautiful song, it really brings across this sense of sweetness and longing.

The recordings I've heard are by the excellent Paul Robeson – and they never fail to pull on the heartstrings. Now, a quick bonus lighthearted one: ‘Ghost Grinder’ by Steam Powered Giraffe is a bit weird but I always find myself dancing along when I listen to it!

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17 things you’ll only understand if you’ve played in a youth orchestra

From pencil dramas to sight-reading mishaps, here’s everything you need to know.

Aside from being totally empowering, joining a youth orchestra like National Orchestra for All has endless benefits – from building your confidence and boosting your communication skills to forming life-long friendships.

But when you first get started, what’s it really like? We take a trip down memory lane and reveal all…

1. Accidentally knocking over your music stand halfway through a piece and alarming your musical neighbours (yes, violinists – we’re looking at you and your pesky bows).

2. Finding the conductor’s facial expressions secretly amusing. Is raising your eyebrows that high even humanly possible?

3. Realising this is the first time you’ve picked up your instrument since last week’s rehearsal, so decide to mime the whole way through.

4. Sight-reading a new piece and suddenly forgetting which key it’s in. How many flats does B-flat major have again?

Read more: Conductor Sian Edwards shares her top tips on leading an ensemble >

5. When you’re trying to hear your part, but the trumpets and trombones are busy deafening the rest of the orchestra.

6. Making faces at your cellist friend for 10 minutes, only to be clocked by the conductor. Woops.

7. When the violas scoff at being compared to the violins. No guys, it’s NOT the same instrument.

8. Having to count a bars’ rest, only your mind begins to wander and turns to what you’re having for dinner that evening…

9. A cup of orange squash, a custard cream and a good chat with your musical pals during the break makes even the dullest of rehearsals worth it.

Find out how you can support Orchestras for All >

10. Turning up to a rehearsal without your mouthpiece, slide, bow, reeds, or [insert relevant instrument part here].

11. Trying your best to focus on what the conductor is saying, but the percussionist sat opposite is determined to make everyone laugh. There’s always one joker in the pack…

12. Diligently counting 134 bars’ rest – but then getting distracted at the very last second and coming in three beats too early or completely missing your entry.

13. Spending an age miming along to a piece of music whilst frantically trying to work out which rehearsal mark the conductor started from – before realising you’re looking at the wrong piece.

14. Getting a little too excited during rehearsals and coming in at double the speed because you’ve misunderstood the conductor’s beating.

15. When a whole section forgets their pencils, forcing the oboes to share theirs.

16. Eventually borrowing someone else’s pencil – but then subsequently dropping and losing it.

17. And finally, realising how much you miss all of these things and can’t wait to get back to rehearsing with your orchestra crew when lockdown is over!

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

Welcome young musicians who may be facing barriers to music making

In recent years, improving equality, diversity and inclusion has become a top priority for many a workplace – but is there more that can be done for our youth orchestras? 

Differences in age, gender, religion, nationality and sexual orientation can all add value and fresh perspectives to an ensemble, while fostering an open culture that welcomes youth voice is key to improving the line of communication between leaders and their students. 

For 10 years, we’ve been doing all we can here at Orchestras for All to develop our practice and break down the barriers of equality, diversity and inclusion within music education – and although we’re proud of what we’ve learned so far, we know there’s still much to do.

That said, we’ve picked up some handy tips along the way. If you’re a music teacher or leader looking for advice on this area, here are our top tips for supporting your youth orchestra:

1) Welcome young people who may be facing barriers to orchestral music making.

This could be due to their physical disability, mental health condition, sexual orientation, lack of financial support or additional learning needs. Constantly adapt your programme to suit the individual needs of who you are working with.

Read more: A tribute to Lucy Hale, National Orchestra for All’s former Young Composer-in-Residence >

Create a collaborative culture between students in your ensemble

2) Diversify your decision makers for artistic programmes.

This could be achieved by adapting your hiring processes to reach applicants from different backgrounds – the more diverse your workforce, the more you’ll remain open to fresh perspectives.

Plus, recruiting staff who have faced similar barriers to music making as the young people you’re working with will ensure you have positive role models representing your ensemble.

3) Acknowledge young people from ethnically diverse backgrounds.

You should also be welcoming applicants who speak more than one language – after all, music is universal! A great way to support these students during rehearsals or in your external communications is to use clear, simple language and focus more on non-verbal cues.

4) Ensure all genders are equally represented.

Whether it’s during the recruitment stage or when providing your ensemble with musical scores (if these are used), be fair and create the same number of opportunities for everyone.

5) Foster diverse thinking and ensure all voices are heard.

Respect your young people and involve them in your meetings, governance and strategy. Offer one-on-one discussions and encourage students to speak their mind. You could also consider forming a youth board or electing young leaders to represent their group.

When selecting repertoire, consider how it represents diversity

6) Create a collaborative culture within the ensemble.

Encourage members to lead, share their ideas, ask questions and support each other to help them take ownership of their group and ensure that everyone feels included.

7) Make your recruitment process inclusive.

Instead of just auditioning, ask interested players to tell you why they want to join. Don’t make it just about skill level – consider adapting your music to suit the ensemble and create bespoke arrangements. Or even better, do you need to audition at all?

8) Make your workspaces inclusive.

Ensure your environment reflects everyone’s needs – including at gatherings and events. For example, you should offer food and beverages that everyone can eat and drink.

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

9) Form a strong pastoral support team.

This should be tailored to meet the needs of your individual players to protect their physical and emotional welfare.

10) When selecting repertoire, consider how it represents diversity.

Try to avoid creating a programme that is dominated by white male composers of the past – this stigma still exists in classical music and we want to break it!

11) Make your ensemble free to join.

And if this isn’t possible, at least provide generous bursaries for those unable to afford joining fees. You should also investigate ways to fund the hidden costs or burdens of ensemble music-making, whether that’s travel or accommodation.

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12) Seek out organisations and networks that can bring people from a wider range of backgrounds into your ensemble.

This might include a nomination process, where young people are nominated to join the orchestra and don't need to apply themselves.

13) And finally, consider including non-traditional instruments and non-traditional score reading in your practice.

For some young people, reading from manuscripts can be tricky but learning by ear offers an effective alternative. And by keeping your instrumentation diverse, you’ll soon discover there’s nothing quite like the sweet sound of a ukulele to complement a beating drum!

Find out more on how to lead an inclusive ensemble and learning by ear with our Music Leadership Programme >

Modulo goes online - Behind the scenes

Hi! I’m Harri, I’m 19 and I’m an Ambassador for the National Orchestra for All. I spent four years in the Orchestra, and I play trombone. I currently live near Durham, but spent most of my year at university in Lancaster.

Building on the success of NOFA’s online spring course (find out more here, from trumpeter Kate), Orchestras for All’s Modulo programme - designed for schools - went online as well. The programme provided a well-needed sense of normality for both members and tutors. This gave everyone a boost because it meant each person could see their friends and also meet new people. The Modulo programme was run on Zoom, so everyone could contribute and be seen via video. Each day started with an energetic warm-up from conductor Emma Oliver-Trend, helping everyone get set to to play their instruments properly.

Emma Oliver-Trend leads an action-packed warm-up session

Then, like a normal NOFA rehearsal, we were split into groups depending on instruments. In total, there were six different sessions going on simultaneously, ranging from traditional orchestral instruments to kitchen appliances as percussion. The piece being explored was Gospel Train as part of the current season’s topic, Roots. Everyone was wholly engaged in the sessions, whether it be working through the music or talking about their experiences at home during the past few months.

This practice was then taken into a full orchestra rehearsal, where further techniques and advice was given to complete the piece. Later on, each member was tasked with recording their part to the backing track to produce their own version of Gospel Train. Keep an eye out for its premiere performance online in the near future.

As usual, the music did not always take centre stage. Each Modulo member had sent in a short excerpt played on their instrument, and a composer - Daniel Bickerton - had drawn all the parts into one short track. The premiere viewing of this piece was shown within a composition webinar with Daniel. This session was potentially the most interesting and important for everyone because Daniel gave us many tips and tricks to think about when composing. This led to everyone jamming out to the created song, with many compliments to Daniel’s dancing!

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As part of his composition webinar, Dan shares his screen to show how the Modulo recordings have been overlaid to create Roots.

The final part of the day was left to orchestra games, where everyone got to mix together and relax before heading off to record their parts. I thought this was very useful as recording can be quite stressful and it gave everyone time to see others from their school or their sectionals.

It’s been a difficult time for everyone. Despite the fact that we need to be careful, it’s now incredibly important to have some social interactions with friends. I know I’m guilty of not organising things with anyone, but I’ve realised that there’s no match for human interaction. Stay Safe! :)