‘I’m a busy young carer – but National Orchestra for All is a place just for me,’ explains violinist

Meet 18-year-old Isaac from Sheffield. When he’s not at home spending time with his family, the National Orchestra for All ambassador can’t get enough of his violin (and learning the lyrics to iconic Disney movies). We caught up with him over a virtual tea break to hear his inspiring story.

How have you been spending your time in lockdown?

Well, right now I’m on a gap year. Mostly what I’ve been doing is helping out around the house and the family – my dad’s just got a new job for the first time in a while. He was long-term disabled and has chronic pain in his back, which has gotten better enough that he can work again, which is good.

He’s studying for a PGCE and my mum’s busy working as a midwife, so I’m doing the cooking for the family. It’s really good for him to be doing that – he really enjoys teaching and it gives him something to do!

Read more: 13 ways you can be kind to others in an inclusive youth orchestra >

Isaac: “I love how much expression you can get from the violin, the range and different tones of sound.”

What inspired you to play the violin?

I first picked up the violin in Year 5 because of Sheffield Music Hub – it’s a council-funded music service. They’d bring in about 30 violins into a school and taught our whole class the basics. They did that at my school and because I enjoyed it and there were a few demonstrations from other people, I then went to some lessons that they did for a while.

Read more: National Orchestra for All ambassadors share their musical favourites >

I love how much expression you can get into it – the range and different tones of sound. You can make it really beautiful and show lots of emotion through how you're doing the bowing, the ‘vibrato’ and everything. It has a lot of expression.

What music have you been listening to lately?

One song I particularly like is ‘Meditation’ – I can't remember who the composer is but that's a lovely, sweet one. Another I'm enjoying playing right now is Czárdás by Monti (the solo parts). I'm just having a go at it in my own time, when I'm not practising for my orchestras and things. 

I don't tend to pick a band and follow their albums, I collate certain songs normally – but a band I've listened to in lockdown is The Longest Johns who do sea shanties, they’re fun and good to sing along to! I’ve also been listening to the album The Green Knight by Heather Dale and songs like Suzanne Vega’s ‘The Queen & the Soldier’, I really like that one. And I've been learning how to sing ‘Hellfire’ from Hunchback of Notre Dame – that’s been fun!

National Orchestra for All ambassador and violinist Isaac (pictured middle) performs with musical friends.

Tell us about your musical journey.

Well, I’ve been with Orchestras for All for a long time. I’m 18 now and I’ve been going to National Orchestra for All (NOFA) since I was 11 – it's great! But I also think it’s helped me in different ways as I've got older. Right at the start the music lessons at my primary school stopped, so I had 20 minutes of lessons with a teacher for a little chamber orchestra of young people that I was a part of.

I think she got an email or text saying that somebody she was teaching didn’t want a place at NOFA – but then she noticed me and said, “Hey, would you like to do it?” and I was like, “Oh okay, yeah!”. That’s how I got there and it’s been great. Early on, what NOFA gave me was my first taste of large music collaboration. The only thing I’d done before that was the little chamber orchestra, so it was amazing!

Find out more about National Orchestra for All >

At first I was quite scared – it was the first time I'd been away from home for a while and the music was much faster than I’d expected. I think the first thing I got was a full rehearsal and that was a bit much and I burst into tears, but then one of the tutors took me out and I had a chance to calm down. They listened to me. And then me and another person got a third violin part and had a little time with a tutor on our own to go through it – and from then on, it was just great! 

I've met loads of great people, but I didn't really keep in touch with them outside NOFA courses until last year when a group of us got put together in the Young Leaders programme. We were organising the recital evening and made a group chat to talk about it when we were in our rooms and stuff. We've kept in touch ever since! And now we’re the new cohort of ambassadors as well, so that's been great.

Isaac presents his violin (pictured bottom left) on Zoom during a National Orchestra for All course.

How has National Orchestra for All impacted your life?

When my dad became sick with his chronic pain, my sister got glandular fever and then chronic fatigue syndrome. With my mum working a lot of the time as well, I kind of took on a bit of a young carer role and NOFA was just a place for me, you know?

Watch musicians’ plea as they urge public to break down barriers to music making >

It was people who I knew, it was my experience, and my family would come and they were really supportive. It was a place where for a bit of time each year, I did this wonderful thing with lots of people – and it was just for me.

What advice would you give to aspiring young musicians?

No matter what your technical ability is with your instrument, the most important thing is to put your energy and emotion into the piece you’re playing. In an orchestra there are lots of people, so it isn’t a bit deal if you’re out of tune or if you don't get all the notes of the run right. But if you play with the colour and the energy and get your emotions involved in the piece, that will come across. 

“If you play with the colour and energy of the piece and get your emotions involved, that will really come across,” says the young violinist.

Complete the sentence: Orchestras for All is…

Great! The thing about Orchestras for All – and what makes it really something special – is that firstly, they make a real effort to listen to the young people they're working with, to the extent that I don't see elsewhere.

It treats its young musicians with respect as well, it never condescends. I think that’s one of the things that made it so great as a young person to be involved with it – you felt really supported and respected in a way that you don’t get so much in school.

Discover 5 ways to protect your wellbeing >

Why is youth voice so important today? 

A couple of things: firstly, young people are the future. The young people that are being listened to and encouraged now, they take that with them, if you know what I mean? It makes them more confident to respect themselves and speak out about what they think is important. If people have the chance to really be listened to, I think you’ll find they are more willing to speak and act on things that they care about.

And the second thing is that young people have their own set of perspectives and experiences. They can be just as smart as adults (often in different ways, but they really are!).

To fund a life-changing programme for young musicians like Isaac, please donate today >

Watch young musicians’ plea as they urge public to break down barriers to music making

As Orchestras for All launches its spring season with a vibrant new visual identity, young musicians highlight why breaking down barriers to music making is more important than ever.

Earlier today, special guests and a team of young musicians joined Orchestras for All on Zoom for a moment of musical solidarity as we celebrate the launch of our ambitious five-year strategy.

To mark the occasion, we’re proud to unveil a bold new visual identity – designed in collaboration with our recently recruited youth board.

Although we’re proud of what we’ve achieved so far – all made possible by the ongoing support of our loyal partners and donors – we understand that there is still much work to be done and especially now during the coronavirus pandemic.

Following 10 years of breaking down barriers, we share a renewed vision: a country where all young people aged 11-19 can access the joy and benefits of playing music with others, regardless of the daily challenges they may face.

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

Pictured (left to right): National Orchestra for All ambassador Kate (trombone), current NOFA member Haseeb (trombone) and Orchestras for All Trustee, Joelle (cello).

With our exciting line-up of inclusive music making opportunities, we’re ready to redefine what an orchestra is, who it is for and the positive impact it can have, while also empowering young people and energising music educators to lead change in their schools or local communities.

As part of this, Orchestras for All’s new programme includes a special season of work for National Orchestra for All (the UK’s only completely inclusive national youth orchestra), titled ‘The Way We See It’ – a musical portrayal of equality, diversity and inclusion and with youth voice at its core.

Read more on National Orchestra for All >

For a worrying 98 per cent of National Orchestra for All (NOFA) members, cultural barriers and limited access to music making have prevented them from doing what they love the most.

Urging others to support orchestral music making (see video above), NOFA clarinetist, Joe, said: “Coming from a working class background, classical music seemed so inaccessible. It just seemed like something for the rich and wealthy. You could learn but weren’t given the opportunity to unless you had the money.”

National Orchestra for All members, tutors and ambassadors team up online for the first day of the NOFA course – complete with an epic array of musical instruments.

Many of our young musicians also face health barriers, with 55 per cent previously unable to play in an orchestra due to autism, a physical disability, learning difficulty, or social, emotional or behavioural difficulties.

But when young musicians join the National Orchestra for All, they leave their worries and responsibilities at the door. Violinist, NOFA ambassador and young carer, Isaac, said: “Being a NOFA member gave me some of the most rewarding experiences of my life. You play great music, you meet amazing people – and there’s a tonne of support, so that any problems that you have can be dealt with.”

Current NOFA member and viola player, Hannah, added: “It means a lot to me because I was able to gain my confidence and speak to new people. It encouraged me to share my ideas.”

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

And despite only 1.6 per cent of Black, Asian and ethnically diverse musicians being members of British orchestras, NOFA is now the most diverse orchestra in the UK with 37 per cent of players coming from underrepresented groups and 54 per cent also based in the lowest 3 IDACI multiple deprivation deciles.

Through a combination of our three core programmes – NOFA, Modulo (supporting teachers and schools to develop an ensemble) and Music Leadership Training (boosting the skills of music leaders and educators) – Orchestras for All is fully committed to enacting positive change over the next five years.

Thanks to our Modulo Programme, we’re pleased to share that 710 young people will have the opportunity to perform in their school in 2021 as well as attending regional and national activities, with 47 secondary schools taking part nationwide.

While the effects of the coronavirus pandemic may be ongoing, we can’t – and won’t – let that be another barrier to music making.  

Please join Orchestras for All’s movement today and support our young musicians >

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

Meet 18-year-old Phoebe from Manchester. The self-confessed musical theatre fan first joined the National Orchestra for All family as a flautist and is now a trusted ambassador. Here’s everything you need to know…

When did you first become interested in music?

My parents have the belief that everyone should play an instrument, so when I was in Year 3 they started me on the flute and I’ve just carried on ever since!

I also play a bit of guitar, a bit of ukulele, I play a bit of everything. (I'm one of those people!) But honestly, my main thing is singing. It’s one of those where I would just pick something up and kind of figure it out – I’m a Jack of all trades, master of none!

What music have you been listening to in lockdown?

I'm doing a joint honours in Music and Musical Theatre at [Chichester] university, so I've mostly been listening to musicals – a lot of Six, Heathers, Wicked... that’s more my ballpark. I'm very excited about everything coming back to the West End and theatres opening again! It’s so raw and you never get the same thing twice. You've got the set text and the set notes, but each performer does something completely different with it from night to night.

Read more: ‘Coming from a working class family, classical music seemed so inaccessible’, says teenage clarinetist >

“If it wasn’t for National Orchestra for All, I wouldn’t have done music at university,” explains Phoebe

It’s been so different just singing in my room, or just to my teacher online – it's been quite challenging indeed! I've got a very different experience than other people because I go to a very small university. It’s actually a conservatoire, so the conservatoire itself is quite small. We’ve been [learning] in person for a large part. It’s very interesting trying to do ballet with a mask on...

We do a core of musical theatre, so I study three types of dance a week, style and genre, contextual modules, music theory and a class in professional resilience, which is all about taking care of your mind and body. ‘Cause it’s quite a harsh industry, we also do an hour of yoga every week, which is nice!

Tell us about your journey with Orchestras for All.

I joined Orchestras for All when I was in Year 9, so I was about 14 years old – and I can honestly say that I don't think I would have gone down the route I have in doing performing arts at A Level and going on to do music at university if I hadn't had that experience of travelling the country in a large youth ensemble. I genuinely don't think I would have ended up going down the path I'm on now.

Flautist Phoebe (pictured top right) supports the National Orchestra for All

What’s the best thing about playing in an orchestra?

It’s just hearing all the different parts! You'll be sat there in the middle of the orchestra and hear the brass on one side with all their individual parts and the strings on the other. You’ll sit there knowing the music and thinking, ‘Oh, they’ve got a little twiddly bit coming up!’ and hear every individual person coming together into something big – it’s just really amazing to be a part of.

Discover more on National Orchestra for All >

I started off playing in smaller ensembles at school. It was very much the Wallace and Gromit theme tune, playing backing for carols at Christmas concerts – quite generic things, whereas at Orchestras for All we’ve played Jewish folk music, Romanian folk music and classical pieces like Swan Lake. We also performed pieces from operas and musical theatre pieces – which excited me a lot because I then went on to have to sing one of the pieces we’d played and I thought, ‘I know the tune to this, I’ve played it!’.

If you could give one piece of advice to other young people who are considering joining an orchestra, what would it be?

I think it would be: don't put yourself down. I know when it comes to my playing, sometimes I get quite nervous if I can just hear me. I’ll be there going, ‘Oh, I’m making all these mistakes! Oh, I can’t quite hit that note!’ – but in your collective part, chances are the person next to you might be able to do that bit, so you've got someone to cover you a bit.

There might be a part they’re struggling with that you’re really confident with. It’s all a bit of give and take, so even if you personally feel like you might not be good enough and you've got all these doubts in your head, I’d say just go for it! There’s no other way to really gain that confidence other than to just get out there and do everything!

‘I don’t think I would have gone down the path I’m on now if I hadn’t joined Orchestras for All’, says young musician Phoebe

Orchestras for All is…

Fun, family and exciting! I feel like people should join and support the cause because there’s no other way to do it really. I come from quite an impoverished area and if it wasn’t for being able to go out and gain confidence and travelling around different parts of the country then I wouldn’t have been able to go to university to study music.

I’d probably still be sat at home in my room, in my town – rather than travelling across the country to study what I love. I feel like people should support Orchestras for All, so that more young people like me get that opportunity and that confidence to really go and do what they love.

Even if playing in an orchestra isn’t your bag or your cup of tea, like it’s something you’ve never really done before or thought about (I trained as a solo singer first and [perform in] musical theatre style – nothing like Romanian folk music!), it’s just such a different experience. Even if your interest lies anywhere else – in opera, jazz, or any other areas of music – gaining that experience by being part of something different really helps.

To help other young musicians like Phoebe do what they love best, please donate today >

‘Coming from a working class family, classical music seemed so inaccessible’, says teenage clarinetist

Based in north London, 19-year-old English Literature student and clarinetist, Joe, first joined the National Orchestra for All (NOFA) in 2014. Years on he supports the group as an Ambassador, so we caught up with him to find out more about his life and musical journey…

Tell us what music means to you.

Music has always been central to my life. We had to learn an instrument in Year 4 [at school], which for me was the clarinet. I’ve kept it up ever since and also did music for GCSE. For me, music is a creative outlet – I do love those creative outlets, which is why I’m studying English Literature! 

I love expressing my emotions in a way that other people can enjoy them as much as me, whether that’s through music, art or writing.

What’s been keeping you busy in lockdown?

I’ve mostly been in class – studying English Lit is pretty heavy! I’ve been reading Sabrina by Nick Drnaso, which is a really great graphic novel and there’s a whole bunch of poetry too. We’ve adapted well [during the pandemic] – the university’s got a good system going and the union is working the hardest they can, so it works.

This might sound a bit odd but I’m also a professional conker player. I picked it up in lockdown when the conkers fell and started practising. So yeah, I’m good with a conker!

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

‘Playing the clarinet is relaxing – it forces you to focus on your breathing’, says Joe

Who inspired you to pick up the clarinet?

To be honest it wasn’t really inspiration, it was more the instrument we were handed in Year 4 and told ‘this is what you’re going to play now’! I learned the basics and got to Grade 1 standard of playing by the end of Year 6. When I went to secondary school they didn’t have a clarinet, but I picked it up again in Year 8 and have had it ever since. 

It’s a very relaxing instrument because it forces you to focus on your breathing, so you get into a rhythm and that really calms you down when you’re taking big breaths or holding [a note]. The clarinet is also a soft-sounding instrument (although it can be noisy when it wants to be!). 

On the whole it’s an instrument that takes the back melodies – not many pieces are written for the clarinet, so when you play them they tend to be calm. 

Describe what music you enjoy listening to the most.

I’m a huge fan of Florence and the Machine – I just love her music, it’s so great! I think I pretty much know every song now. Similarly with Amy Winehouse and Elbow. They’re my mainstays but I also listen to the radio quite a lot (I’m old-fashioned like that), so pick up songs I like from there too. And I love Celeste’s music.

A lot of [Amy and Celeste’s] music touches on issues that I grew up around, so it resonates with me in a big way. But the songs also have gravity and weight in ways that other songs don’t. They usually have a heavy beat, a low line and as for the lyrics themselves, you don’t necessarily have to listen to the words to get the meaning – and sometimes that’s really powerful.

Joe (pictured top left) supports a virtual rehearsal with the National Orchestra for All

Has Orchestras for All impacted your life and musical journey?

The National Orchestra for All (NOFA) has been such a help; it advanced my musical skills grade upon grade, year after year and the [team] are always willing to help you learn. It also massively widened my classical music range – I now have a classical playlist that’s like 300 pieces long! 

It’s given me a real appreciation for other art and music and I’m really thankful that I was given the chance to learn and to improve. I’ve met so many nice people that I still contact today. 

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

Why is playing in a youth orchestra so special? 

You don’t really find that togetherness anywhere else. You can go out to university clubs, but there’s only so many people there. Orchestras represent a unique harmony, if you like – they’re organic and [in NOFA] you get 100 young people coming together in a uniform way, it’s so great! It’s inspirational because you just don’t see it anywhere else. 

Artistic Director Emma Oliver-Trend leads a Modulo performance at the Royal Academy of Music

What’s your advice to other young musicians who are considering joining an orchestra?

Absolutely go for it! Try your hardest – if you’ve tried your best, no-one will ever fault you because you’ve still contributed in some way to the harmony of that orchestra. You’ll definitely take away something more from it – you’re never not learning.

Orchestras for All is…

Amazement! Coming from a working class background, classical music seemed so inaccessible. It just seemed like something for the rich and wealthy – you could learn but weren’t given the opportunity unless you had the money. 

If you break down those barriers, more people can have an appreciation for it. And it’s history! If you section off that part of music, you lose something forever. The more you break down those barriers, the more people can remember [the music] – and that’s really important. 

To support young musicians like Joe, please donate to Orchestras for All >

‘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.

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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 >

‘An orchestra is a representation of an effective society’, says Artistic Director Emma Oliver-Trend

From fugues to folk music, and everything in between, meet our new Artistic Director, Emma Oliver-Trend…

What’s your earliest musical memory?

I think that would have to be recorder lessons with my mum! My brother, sister and I were all home-schooled by our mum for a while as she was a school teacher and part of that involved learning how to play the recorder, so I think my earliest musical memory was standing in the lounge with them aged four playing lots of different tunes.

By the age of five I had joined Exeter Children’s Orchestra, so I can also remember meeting in a school with my sister and other young musicians for a two-hour rehearsal every Saturday morning and sitting on these little benches because we were all so tiny! 

I think that may have been some of the most valuable musical training for me – when I first started, I don't think I could play the recorder but very quickly you learn through doing.

Read more: Music podcast highlights need ‘to take meaningful action against inequality’ – here’s how to listen >

Artistic Director Emma Oliver-Trend plays the violin as a young girl

Tell us about yourself and your role at Orchestras for All.

I’m very proud to now be Artistic Director at Orchestras for All and my professional career has spanned well over two decades (can you believe?) in both the arts and education sectors.

I started out at the Welsh College of Music & Drama (now Royal) before completing my Master’s degree at Dartington College of Arts. Then I worked administratively at some amazing organisations, Music Theatre Wales, Welsh National Opera and Dartington Arts.

I also worked as a producer, collaborating with vocal animateurs – but because I was a practising musician, I wondered if maybe it was my calling to be the person leading rather than producing behind the scenes.

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Later on I trained to become a secondary school music teacher as I was keen to learn more about learning – and I come from a family of teachers, so I guess this area has always been my destiny!

By then, I had a good handle on education and decided to stretch my experience, so now I’m a freelance music practitioner and really love it here at Orchestras for All. I’ve created musical arrangements, conducted ensembles and worked with Marianna and the team on forming the artistic programme. 

Emma Oliver-Trend leads the way at a concert with National Orchestra for All

I enjoy focusing my thinking on the how. Choosing the right repertoire is key, but it’s what you do with it that counts. With every community project, you seek to improve the lives of the people you’re working with – it’s important to think about musical and social outcomes.

Has this influenced the development of National Orchestra for All’s Spring theme?

Definitely! Our new theme is ‘The way we see it’ and it’s all about youth voice. While that’s presented in our repertoire, the way we actually run our rehearsals and how we involve young people in our decision-making ties in with the theme too. For me, it’s about community and the relationship between music and society. 

To get that across, we’re using ‘The Young Person’s Guide to the Orchestra’ – an amazing composition written by Benjamin Britten – as the springboard for this season with NOFA and I’m currently working on the arrangement.

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

It’s often heralded as the piece that teaches young people about instruments but it’s so much more than that; it presents many different textures. The famous opening theme (the ‘Rondo’) is presented with a unified orchestra that represents solidarity. 

As the piece goes on, you have four instrument families all speaking to each other and then the variations kick in, which allow each instrument to say something unique – there are some rather strong characters in there! Britten made lovely choices when supporting these instruments – for example pairing the oboe line with the violas and lower strings.

Of course, you also have that wonderful fugue where each instrument is heard with its own entry and you get real clarity. Unlike a lot of music that you hear which has a main melody on top, fugues take on an egalitarian form. Everyone is equal and has the same challenge, which I love – you can hear so many layers!

At the end of the piece, you have this amazing moment that always brings me close to tears. The main theme comes in with the bass instruments again… It gives me goosebumps just talking about it! It’s the perfect piece to help us present the idea that an orchestra can reflect society.

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You have solidarity where everyone speaks as one, individual voices can have their say, and a diverse group of people are supported by others who they didn’t expect to meet. There are even agreements and disagreements in this music, so it’s definitely a true representation of today’s society! I can’t think of a more suitable set of principles to explore through music today. 

Alongside Britten, we’re going to be creating two new pieces with NOFA – a bespoke digital project and a live creative work.

Emma Oliver-Trend conducts the National Orchestra for All

What do you enjoy the most about working with young people?

I love the energy they give you. If you want your young people to be energetic and responsive, you need to be energetic and responsive with them. It’s important to be authentic and nurture them in an environment that has a friendly, family-like vibe as I find they appreciate honesty and openness. Now more than ever, it’s important to give young people a voice.

Are inclusive ensembles the way forward?

Oh, absolutely – and inclusivity is central to our work here at Orchestras for All. We’re always looking for ways to improve and working with a wide range of partners to develop our practice.

It’s all about collaboration and we intend to stay at the forefront of those conversations, in the hope that we can inspire and empower even more young people throughout their lives and musical careers.

The former teacher shares her expert advice with aspiring young musicians

And finally, what piece of advice would you give to other young people who are interested in joining an orchestra?

My first piece of advice would be to join an orchestra that has a strong sense of community. Like I mentioned earlier, an orchestra is a representation of an effective society and that offers some real benefits, from boosting your confidence to developing your social and communication skills.

But I don’t mean just talking to people at break time – it’s all about the playing and special musical experiences where you are working really closely with your neighbour.

Since many rehearsals only take place once a week, my second bit of advice would be to play along with the music that you are learning at home. Try to get hold of a CD or recording of the piece and get used to hearing lots of different sounds while you practice your part.

Bring the ensemble into your home! When you all come together again, it’ll feel familiar and you’ll enjoy it much more as a result.

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Music podcast highlights need ‘to take meaningful action against inequality’ – here’s how to listen

Orchestras for All Trustee Beth White and Executive Director Nick Thorne join the presenters of Performative as special guests in a new podcast tackling diversity and inclusion in music.

The makers of British arts podcast, Performative, have released a new episode in a bid to highlight the growing need for diversity and inclusion across the music industry.

Hosted by percussionist Chris Pott and double bassist Tom Morgan, the weekly podcast unravels the thoughts and experiences of artists, performers and other creative minds – with previous episodes exploring famous classical composers, the fascinating career of jazz singer Ella Fitzgerald and the work of conductor and organist, Tom Daggett.

In today’s episode, the duo discuss how to break down barriers to orchestral music making with Orchestras for All’s Executive Director, Nick Thorne, and former National Orchestras for All member and Trustee, Beth White.

Describing her personal experience of diversity and inclusion in music, Beth said: “When I joined Orchestras for All, I was 13 years old. Before then I’d only had access to brass bands, so for me it was a great opportunity to join an ensemble and meet people from different backgrounds from around the country. It was my only source of diversity growing up.

“That was a big barrier for me – in classical music, you can only play in an orchestra if you have the strings but you can’t do that with a wind band. Coming from a white mining town where there’s no diversity to then being part of a huge ensemble felt right.”

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

Beth White (pictured middle left) attends her first Trustee meeting with Orchestras for All

Beth continued: ”But Orchestras for All aren’t traditional. They have guitars, ukuleles and saxophones – far too big a range for me to name! It breaks down that barrier of people thinking you have to play a certain instrument or look a certain way – and no matter what standard of music you are, they’ll write you a part to play.

“Although they play a lot of classical music, they’ve also done pieces in the past that have been composed by members of the orchestra or included synthesisers and videos. I mean, how many people at the age of 14 can say they’ve played at Leeds’ First Direct Arena in an orchestra with lasers and smoke machines?”

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Speaking about the benefits of joining a diverse ensemble, Nick added: “We see musical, personal and social progression as the same thing. You can develop your personal and social skills through music – and you can develop your musical skills through being on podcasts and talking at conferences to boost your confidence!

“We dedicate so much time to our young people and have someone in the team who connects with their parents and guardians to ensure we develop a pathway that’s individual to them. For Beth, progression might mean going to University in Leeds and studying music but for someone else it might mean having the confidence to go to their music lesson.”

But it’s not just about the playing – Nick also highlights the importance of harnessing youth voice across the industry: “We want to get young musicians involved in our youth board and give them the opportunity to become role models for others facing the same challenges as them, so they can see what’s possible. It’s about belonging.”

And after carrying out research for her university course, Beth says that gender equality is still an issue: “I went to Birmingham Conservatoire and questioned a lot of the orchestra members about equality because in 2018, 69 per cent of the musicians in the world’s top 20 orchestras were male. Once I showed people my research, they started asking me, ‘well why shouldn’t more principal musicians be female?’ – it came as a shock.”

Discover how to run an inclusive ensemble session >

Performative’s new podcast comes after UK-based music education charity, Music Masters, selected 40 organisations to take part in its diversity and inclusion audit tool, I’M IN, late last year.

Rob Adediran, MM’s Executive Director at the time, told DiversityQ: “We were blown away by the response from the sector to the launch of I’M IN. Clearly, organisations ranging in size from small community outfits to our major symphony orchestras are recognising the need to go beyond issuing statements about diversity and start creating inclusive cultures.

“Change starts by taking a hard look at what we are getting wrong and what we are getting right – and I’M IN will help all of the organisations who signed up to do just that.”

National Orchestra for All members

Describing Orchestras for All’s involvement with the tool, Nick Thorne said: “We are proud to have been selected and know we have more work to do in identifying how to break down these barriers.

“We look forward to working with colleagues across the sector to understand how we can better equip ourselves to take meaningful action against inequality through our work.”

Listen to Performative’s new podcast episode via Spotify >