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 >

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!

Subscribe to our newsletter for regular updates on our ambassadors >

‘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 >

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!

Want to read more articles like this? Subscribe to Orchestra for All’s monthly newsletter >

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.

Donate to Orchestras for All >

“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 >

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.

Donate to Orchestras for All >

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 >