Beatboxer James Botcher: ‘Music is vital for young people – it’s an emotional and social outlet’

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The star beatboxer insists that no-one should ever be restricted from playing music with others.

British beatboxer and tenor, James Botcher, has spoken out about the growing need for young people to bond through music-making.

Known to his fans as ‘Beatbotch’, James – who also teaches singing, piano and music theory – is convinced that group music-making creates “unique and meaningful” connections.

The freelance musician shares his view following a turbulent year for young people and music leaders in the UK, amid the coronavirus pandemic.

During his recent workshop at NOFA Festival 2021, James introduced the 100 young members of National Orchestra for All (NOFA) to the art of beatboxing and encouraged them to pursue their musical dreams regardless of their background.

After the event, we caught up with James to find out more and hear about his inspiring life in music.

Read more: Orchestras for All just held a virtual music festival for 100 young musicians – and it was pure joy >

What’s your earliest musical memory?

I’ve played the piano ever since I was a boy. I can still remember my mum teaching me to play almost 20 years ago – and can even remember my ABRSM graded exams and performances at my primary school!

Who, or what, inspired you to pursue a career in music?

Although I don’t come from a family of musicians, music has always been in my life. Being able to spend my time in secondary school – engaging more and more with the musical world – made me want to spend more time in it, until I just realised it was what I wanted to do one day. I was very lucky to have a supportive and encouraging music department at school to guide me in the direction I chose.

Discover how to set up an inclusive ensemble in your school >

Could you tell us about some of your career highlights so far?

Something I really enjoy is singing for film and video game soundtracks – the most exciting recording session I’ve done to date has to have been for World of Warcraft.  That was back in 2019 with the London Voices – I didn’t know what I had been booked for until I turned up and I play games myself, so that was a small dream come true!

Other highlights include being a semi-finalist beatboxer at The Voice Festival UK, visiting the world’s first ever beatbox camp, and singing with I Fagiolini as chorus in Monteverdi’s L’Orfeo!

‘Perform in ensembles, take up lessons and enjoy your time with your instrument,’ says the beatboxing pro

‘Perform in ensembles, take up lessons and enjoy your time with your instrument,’ says the beatboxing pro

What do you enjoy the most about beatboxing?

There are a few things I really love about beatboxing. It offers the opportunity to be spontaneous and interactive. Beatboxers love to jam together and improvise with each other on the spot to create something entirely live and reactive.

Similarly, providing vocal percussion for an ensemble allows you to work as an accompanist, reacting by shaping your sounds to match the tone and texture of the piece! I think my favourite part would have to be that it’s so accessible. I’m a firm believer that anyone and everyone can be a beatboxer and have fun doing it. It’s all boots and cats!

You’ve also performed some beautiful choral pieces. Why should young people be open to all musical genres?

I believe that young people should be open to all musical genres because you never know what style, instrument or era you’re going to enjoy until you’ve tried it! For those young people who have found their niche, I would still recommend playing music of styles and eras that you’re less familiar with or wouldn’t normally study because you can only develop as a musician by learning more.

A very important thing I was told towards the end of my time at secondary school is: “You don’t have to enjoy listening to a piece of music to enjoy playing it.” This turned out to be true when I had a great time playing plenty of contemporary percussion in my time at university, but you’d be hard-pressed to find me listening to composers like Xenakis.

If you could share any top tips with NOFA members who are considering a career in music, what would they be?

If you enjoy it then you should play it, study it, go for it. Do as much as you can (or want) to do while also looking after your health. Perform in ensembles, take up regular lessons if these are available to you and enjoy your time with your instrument. This last step is crucial because if you pursue a career in music, you’ll be spending a very long time with it!

Read more: Over 100 school pupils nationwide team up online for epic day of music-making >

Why has wellbeing become so important for musicians during the coronavirus pandemic?

During the pandemic, there have been almost no opportunities to perform or to musically interact with others. When your career is built around these things, it’s not just tough financially, but also emotionally.

The need to isolate from others meant that for many musicians, their passion and career was suddenly taken away, leaving them without structure or a safety net. Self esteem, mental health and having the motivation to practice have all taken a hit over the past year and a half.

11 ways playing music with others can boost your wellbeing >

Being unable to talk about emotions and without gigs to look forward to, it became incredibly important for musicians to practice wellbeing – to make a conscious decision to look after one’s own physical and mental health, to be mindful, and to remember there are better days to come. Thankfully, these better days seem to be beginning now – at last!

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What are your plans for 2021-22 – do you have any exciting projects in the pipeline?

I have a few gigs and recordings coming up. I’m most looking forward to performing as the tenor soloist for The Sirius Orchestra’s rendition of Haydn’s The Creation next month! Like many others, I’ve had a lot of work cancelled (some as recent as the start of August), so it’s great to see work solidly booked in again.

Read more: ‘We can be a part of something bigger together’, explains teenage trombonist and youth board member

Why should the public support Orchestras for All?

Orchestras for All is cool! Music is so important for young people. Even if we ignore studies that suggest students who engage with music perform better in some academic subjects (such as maths, English and the sciences), it is still an emotional and social outlet.

It allows young people to connect with themselves – and with others – in a completely unique and meaningful way. I believe that nobody should ever be restricted, in any way, from being able to enjoy music-making and that with more people enjoying it, it can only develop as an art form.

Would you like to give the gift of music-making to a young person? Please donate today >

Orchestras for All just held a virtual music festival for 100 young musicians – and it was pure joy

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From fancy dress costumes and improvisation workshops, to beatboxing tutorials and tear-jerking performances, NOFA Festival 2021 was truly an event to remember.

Last week, Orchestras for All (OFA) launched its first online music festival in a bid to break down barriers to music-making for young people in the UK, amid the coronavirus pandemic.

Known as NOFA Festival 2021, the musical extravaganza – held on Zoom from 27-30 July – was attended by the 100 young members of National Orchestra for All (NOFA) as well as 14 orchestral tutors, 14 wellbeing tutors, special guests, and several core staff and volunteers.

It comes as NOFA, the only completely inclusive national orchestra in the country, shares a new season of work titled ‘The Way We See It’ – a musical portrayal of equality, diversity and inclusion, and with youth voice at its core.

Throughout the week, festivalgoers were able to enjoy an exciting programme of workshops and activities over at the Main Stage, Music Tent and Games Arcade – with young people left completely free to choose what they attended, and when – while the Chill Zone, Green Rooms and Space to Speak areas offered a moment of calm.

Sharing a message of gratitude with OFA’s funders, donors and supporters after the event (watch video below), NOFA trombonist and Young Leader, Haseeb, said: “Thanks to you, I’ve had the opportunity to work with musicians my age from all around the UK, developing both my social and musical skills.”

Read more: Over 100 school pupils nationwide team up online for epic day of music-making >

Ambassador and former NOFA member, Kate, added: “Thanks to you, I’ve been able to support young people in their journey to music-making, helping them to adjust to the reality that we will (hopefully) be in person in the winter and building the confidence that they need to come and enjoy an in-person session with us as well as an online session.”

Among the 40 diverse workshops on offer included a jaw-dropping beatboxing session, led by James Botcher (also known to fans as BeatBotch), an inclusive folk music workshop with OFA’s Artistic Director, Emma Oliver-Trend, and an introduction to creative remixing, hosted by NOFA composer, Jack McNeill.

They were joined by piano tutor, Matthew Poad, who explained how to write music using just four chords, and esteemed jazz trumpeter, Byron Wallen, who led an improvisation masterclass and invited orchestra members to experiment with their musical instruments on-screen.

Meet the National Orchestra for All musicians >

Sharing his top tips on improvisation, Byron told NOFA: “It’s a judgement-free zone. The best ideas often come from mistakes! It’s like a language and unites the world, so don’t be afraid to express yourself. Remember – one person’s chilli is another person’s lemon!”

Jazz trumpeter Byron Wallen leads the way during an improvisation masterclass

Jazz trumpeter Byron Wallen leads the way during an improvisation masterclass

Given the new challenges faced by so many of our young people and music teachers following the coronavirus pandemic, the four-day festival also placed extra emphasis on wellbeing and mental health.

Yoga, meditation, poetry readings and virtual walks through nature were just some of the peaceful activities available at the Chill Zone, with our dedicated team of wellbeing tutors always on hand for a friendly chat.

Meanwhile, the Games Arcade offered a wide selection of online games and quizzes for NOFA members to enjoy, should they be keen to take a break from any of the workshops and play with their friends.

Discover five ways to protect your wellbeing >

The young musicians were also introduced to OFA’s new Wellbeing Lead, Elli Chapman, who inspired attendees with her moving personal story and infectious positivity.

She told NOFA: “It’s important for you to understand your unique superpowers. Resilience is about being strong and standing up to any challenge. Your experiences as a young person are what make you great!”

“Stand up to any challenge,” says Orchestras for All’s new Wellbeing Lead, Elli Chapman

“Stand up to any challenge,” says Orchestras for All’s new Wellbeing Lead, Elli Chapman

National Orchestra for All members and tutors enjoy a moment of musical solidarity on Zoom

National Orchestra for All members and tutors enjoy a moment of musical solidarity on Zoom

After a fun-filled week of 60 individual lessons and group music-making, the festival was brought to a memorable close with a full day of showcases and recitals – featuring a moving rendition of Celine Dion’s ‘My Heart Will Go On’ (courtesy of NOFA member, Edwin), impressive Bach from violin tutor, Georgia, and a stunning choral recording of ‘Time After Time’, performed by NOFA trumpeter, Cameron, and his family.

For 98 per cent of NOFA members, cultural barriers and limited access to music-making have prevented them from doing what they love the most. Many 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.

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

On behalf of everyone at Orchestras for All, we would like to thank our wonderful funders, Youth Music, Arts Council England, Clore Duffield Foundation and The Headley Trust, as well as our loyal individual donors and supporters, for helping to make NOFA Festival 2021 happen.

Together, we can change lives through the power of music.

To support young musicians in National Orchestra for All, please donate today >

Over 100 school pupils nationwide team up online for epic day of music-making

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When lockdown strikes, bring together aspiring young musicians through the power of Zoom…

Last week, eight schools from across the UK gathered virtually to make music together as part of Orchestras for All’s Modulo Programme – and it was pure joy.

Known as a Modulo Meet, the national event gives secondary school music teachers and their students the opportunity to team up with others for a day, experience how it feels to be part of a large-scale orchestra and enjoy a much-needed moment of musical solidarity.

The Zoom event comes as music education in many schools has faced an unprecedented crisis as a result of the coronavirus pandemic – with 68 per cent of primary school teachers and 39 per cent of secondary school teachers reporting a reduction in music provision.

According to the ISM’s recent report, titled The Heart of the School is Missing and surveying more than 1,300 music teachers across the UK, extracurricular musical activities have been discontinued in 72 per cent of UK primaries and 66 per cent of secondaries, while almost one in 10 schools are not teaching music as part of the curriculum at all.

That’s why our Modulo Meet was surely a day to remember, with over 100 young musicians of mixed ability in attendance and a whole host of special guests taking the lead – including star conductor, Karin Hendrickson, members of our partner orchestras, BBC Philharmonic and City of London Sinfonia, National Orchestra for All composer, Jack McNeill, and digital visual artist, Bryony Simcox.

Read more: We bet you can’t name the orchestral piece from the emojis >

Leading the way: Star conductor Karin and percussionist Glyn host sessions during Modulo Meet

Leading the way: Star conductor Karin and percussionist Glyn host sessions during Modulo Meet

And while some of the young musicians were advanced (having completed Grade 6 in their chosen instrument), for many others it was the first time they had ever played.

To fund a life-changing programme like Modulo, please donate here >

Thanks to the power of technology, the diverse collective were able to enjoy an energetic series of warm ups, creative workshops, sectional rehearsals focusing on Purcell’s ‘Rondeau’ (taken from the composer’s famous Abdelazer Suite), and much more.

After the event, we caught up with Kathryn Dawson, a participating music teacher at The Hathershaw College in Oldham (watch full interview below), to find out more about her experience of Modulo Meet as well as her personal experience in education this year.

Kathryn told us: “I first started Modulo in 2015 with a school and ever since then, I’ve always taken it with me. The kids absolutely love it because it’s not just about playing in the orchestra.

“Of course, that’s a huge part of the day but last week we were looking at graphic scores and installations – that’s not something you’d necessarily get on another orchestral course, so it’s really nice for the students to explore different ways of using their musical skill.

“[Breaking down barriers to music-making] is an ongoing challenge not just for Orchestras for All, but all of us in music at the moment. I couldn’t afford to bring in performers from BBC Philharmonic – that’s way beyond our budget and a real opportunity for the students. They’ll be speaking about that for a long time!

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“I’ve also been very lucky to have been gifted 10 or 12 instruments from Orchestras for All – and that’s not something you get everywhere else either. It’ll be really nice to bring those instruments back into school and for students to make use of them.”

Getting creative: Students at The Hathershaw College in Oldham experiment with plasticine while listening to music during a Modulo Meet workshop

Getting creative: Students at The Hathershaw College in Oldham experiment with plasticine while listening to music during a Modulo Meet workshop

She continued: “In our case, they’re students who can’t afford an instrument at home but really want to learn to play, or have an instrument at home that’s broken and they don’t know how to fix it. [Modulo] will provide us with more opportunities for more of our students and that’s fantastic.

“Yes, there’s a fee – but it’s a drop in the ocean for a school and Orchestras for All have worked really hard to keep that fee as low as possible.”

Sharing her advice with aspiring young orchestra players and music teachers, Kathryn added: “Be brave! There’s no right or wrong way to do this, it’s just the way that works best for the students. In my experience, this is a really good way of trying it out because it’s so friendly, relaxed and supportive.”

Pictured: Bryony Simcox shares a variety of musical scores with Modulo participants

Pictured: Bryony Simcox shares a variety of musical scores with Modulo participants

So far, Orchestras for All’s Modulo Programme has collaborated with 47 state secondary schools nationwide and provided them with bespoke resources, arrangements, music-making opportunities and visits from 30 professional musicians.

Our recent Modulo Meet welcomed participating schools from all across the country – from Cumbria to Huddersfield, London to County Durham.

While music-making in schools has become something of a challenge over the past year amid the coronavirus pandemic, Orchestras for All’s Modulo Programme – supported by Scops Arts Trust and The Rayne Foundation – has continued to provide musical opportunities throughout.

To find out more about our Modulo Programme or participate with your school, please email info@orchestrasforall.org.

QUIZ: We bet you can’t name the orchestral piece from the emojis

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Think you can tell your symphonies from your suites? Can you really speak fluent emoji? Take our quiz to find out…

From pianos and trumpets, to puppies and tabby cats, there’s a whole world of tiny emojis out there – and we can’t get enough of them.

That’s why to celebrate this year’s World Emoji Day (17 July), Orchestras for All is here to put your musical knowledge to the test with an orchestral emoji quiz.

Think you can score full marks? Let’s find out…

*For answers, just scroll to the end!

Read more: 7 female composers you really need on your radar >

1.

2.

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4.

5.

6.

7.

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8.

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11.

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14.

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ANSWERS:

  1. Benjamin Britten’s ‘Young Person’s Guide to the Orchestra’

  2. Modest Mussorgsy’s ‘The Great Gate of Kiev’, from Pictures at an Exhibition

  3. Pyotr Ilyich Tchaikovsky’s ‘Dance of the Sugar Plum Fairy’

  4. Lucy Hale and National Orchestra for All’s ‘Stories of Silk’

  5. Antonio Vivaldi’s The Four Seasons

  6. Léo Delibes’ ‘Flower Duet’

  7. Wolfgang Amadeus Mozart’s Overture from The Marriage of Figaro

  8. Florence Price’s Mississipi River Suite

  9. Sergei Prokofiev’s ‘Dance of the Knights’, from Romeo and Juliet

  10. Pyotr Ilyich Tchaikovsky’s Swan Lake

  11. Antonín Dvořák’s ‘New World’ Symphony

  12. Clara Schumann’s ‘Three Romances for Violin and Piano’

  13. Gustav Holst’s The Planets Suite

  14. Edvard Grieg’s ‘In the Hall of the Mountain King’

Want to fund a life-changing orchestral experience for young people? Please donate here >

7 female composers you really need on your radar

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

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

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

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

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

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

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

1. Ethel Smyth

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

2. Alice Mary Smith

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

3. Lucy Hale

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

4. Augusta Holmès

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

5. Florence Price

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

6. Vítězslava Kaprálová

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

7. Samantha Fernando

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


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

Watch this mesmerising digital work created by 100 young musicians

‘It will show others how we’re all going on a journey,’ says 16-year-old pianist, Troy.

Orchestras for All has shared a captivating new video in a bid to highlight the importance of youth voice and self-expression.

Titled ‘The Great Interstellar Orchestra’ and premiered today via YouTube, the six-minute clip (watch above) combines beautiful sounds and striking animations, created and performed by 100 young musicians.

The diverse musical group are members of National Orchestra for All (NOFA) – the UK’s only completely inclusive national youth orchestra – which has taken to Zoom for its rehearsals this season, amid the coronavirus pandemic. By harnessing the power of technology and exploring new ways of connecting, digital creativity became possible.

As part of NOFA’s four-day spring course, members were invited to a series of virtual workshops on remixing and collage led by British composer, Jack McNeill, and digital visual artist, Bryony Simcox. It was the unique stories and creations that emerged from young musicians during these sessions that formed the basis of the audiovisual composition.

Read more: 5 reasons why becoming an Orchestras for All trustee is the volunteer role you never knew you needed >

“‘The Great Interstellar Orchestra’ is all about giving young people a voice,” explains NOFA composer, Jack

“‘The Great Interstellar Orchestra’ is all about giving young people a voice,” explains NOFA composer, Jack

After seeing the digital work – which was also named by NOFA members – for the first time, Troy, a young pianist with NOFA, said: “It had all the unique elements of people’s different ideas put together… I thought it was amazing!

“By the end I was so interested in it, I wanted to see more. I’m really happy that I was a part of it and that I was able to contribute to all of this. It will show [others] how we’re all going on a journey… where we are, what we want to do and what we want to achieve.”

NOFA percussionist, Abz, added: “It’s got the different noises and different instruments, and it represents us all as a whole. We’re not the same but we’re all linked in some way.”

Together: NOFA members share what performing means to them during the spring 2021 course

Together: NOFA members share what performing means to them during the spring 2021 course

Ahead of the premiere, Orchestras for All caught up with UK-based composer, Jack, and digital visual artist, Bryony, to find out more about the creative process for the project (watch video below).

Speaking about the music, Jack explained: “The sounds that you will hear in ‘The Great Insterstellar Orchestra’ are all sounds that the members of the National Orchestra for All recorded themselves. After four days of workshops, members began to create their own works, exploring the sounds of their instruments, their creative potential, and sharing the sounds they had made with the NOFA creative team.

Discover more on National Orchestra for All’s young musicians >

“‘The Great Interstellar Orchestra’ is all about giving young people a voice and showcasing their creativity. And this is exactly what this piece does. The audio track is constructed (almost) exclusively of the NOFA members’ own recordings, processed, chopped up and warped to create this digital ensemble. Within the texture, every single sound that was sent has been included in some way and every member has an important role and voice within the team.” 

He continued: “The piece fully represents the diversity of NOFA members’ creative ideas, with some instrumental melodies peppered across the piece, interspersed with percussive interludes, rich ambient textures, and almost synthetic-sounding extended techniques. If you listen carefully, you will hear the voice of every single NOFA member in this work.

“I have hugely enjoyed working on this project. It is one of the largest and most ambitious I have worked on, with almost all of the creative decisions in the hands of the NOFA members, and over 100 pieces of audio to weave into the final piece.

“While ‘The Great Interstellar Orchestra’ is built up of individual voices, NOFA members demonstrated their creative capabilities as an ensemble. With many of the sounds that were sent in, there was clarity in each submission’s role in the piece and how they would support the work as a whole. Even remotely and in a digital medium, these young musicians so clearly understand and appreciate the inner workings of an ensemble, and it shows in their creative work.”

Read more: ‘We can be a part of something bigger together’, explains teenage trombonist and youth board member >

“Tunnels, car rides and cogs reflect the idea of coming together,” says digital visual artist, Bryony

“Tunnels, car rides and cogs reflect the idea of coming together,” says digital visual artist, Bryony

Explaining her approach to the artwork, digital visual artist, Bryony, added: “When you watch the piece, look out for the abstracted images of instruments – each of these are photographs sourced by NOFA members who looked for patterns and shapes within the instruments they play. Also observe the use of colour – each of the colours included were chosen by NOFA members as a visual interpretation of the sound and timbre of their instruments.

“The idea of colour and sound working together is especially apparent in the middle section, where the adrenaline of tuning up and getting ready to perform as an orchestra is represented through a cycling rainbow of colours and flashing words. This reaches its climax as the ‘orchestra’ is in perfect harmony and the screen fills with the colour red.

“As well as pattern and colour, the overarching structure of the piece was curated by NOFA members, who used storyboarding in Zoom to imagine ways to tell the story of being part of the orchestra. First, the disparate pieces emerge, just as each NOFA member comes together from different backgrounds and corners of the country. As the video continues, we use tunnels, car rides, cogs and train journeys – all literal imagery suggested by the young people to reflect the idea of coming together.”

In perfect harmony: NOFA members and tutors get creative with colour using the screens of their devices

In perfect harmony: NOFA members and tutors get creative with colour using the screens of their devices

NOFA musicians explore the medium of collage on Miro and create their own artwork

NOFA musicians explore the medium of collage on Miro and create their own artwork

She continued: “After the red climax of the piece, the video features animation which bring collages to life in time to the music. Here, it feels as though ‘The Great Interstellar Orchestra’ is performing together, and each and every instrument and musician has a role to play. Before the piece comes to a close, the finale features some of the artwork created by the young people at the end of the spring season workshops – 2D abstract collages made using software called ‘Miro’.”

But it wasn’t just young people that inspired NOFA’s digital piece. Artistic Director at Orchestras for All, Emma, says the team were also influenced by the orchestral world: “Our spring course for 2021 was the one-year anniversary of NOFA working together on Zoom, and we wanted to work with the visual medium to dig deeper into how we can be an orchestra online. Our starting points were themes found in Britten’s ‘The Young Person’s Guide to the Orchestra’ – the central work to our artistic season: unity within community, solo voices within an ensemble, the parts of a whole and being heard in a crowd. NOFA took these initial ideas and moved them on.

“‘The Great Interstellar Orchestra’ seems to me, now, to champion being part of something new: joining a community, making a contribution, taking action and valuing others. Maybe it will tell different stories to others. The making of ‘The Great Interstellar Orchestra’ was a complete joy. Using a wide range of musical and visual practices, NOFA members brought wonderful ideas and fun to the storytelling. This project has certainly transformed the possibilities of creative work for this orchestra for the future, and we are so grateful to Jack and Bryony for enabling the individual voices of NOFA to speak as one.”

While the arts sector may have been faced with unexpected challenges during the coronavirus pandemic, Orchestras for All won’t let that become another barrier to music-making. By fully embracing digital trends such as Zoom, we can continue to connect with our young people and create exciting new pieces of work.

A very special thanks to Arts Council England, Youth Music, our loyal funders and individual donors, ambassadors, volunteers, and pastoral and orchestral tutors for helping to make this digital project possible.

To fund a life-changing programme like National Orchestra for All, please donate today >

‘We can be a part of something bigger together’, explains teenage trombonist and youth board member

Meet Haseeb from Sheffield. The young A-Level student plays the trombone in National Orchestra for All (NOFA) and has developed newfound confidence since joining the inclusive group. He is also a member of our inspiring youth board. Here’s his story…

What’s keeping you busy at the moment?

Well I’m studying maths, physics and engineering at A-Level. I’m currently in Year 12, so I’ve just done my mock AS exams. My favourite subject is engineering!

What are your thoughts on the coronavirus pandemic?

I’m looking forward to being able to go out without having to wear a mask all the time. And I'm definitely looking forward to actual NOFA courses!

I think it’s amazing that we've been able to overcome such a barrier but at the same time I would prefer for things to go back to normal. I miss hearing the finished product in an orchestra and the combination of everyone playing together.

Read more: QUIZ: Can you match 7/11 of these musical instruments with their orchestra families? >

‘I’m not the most confident person – but I’ve gained confidence since joining NOFA’, says Haseeb

‘I’m not the most confident person – but I’ve gained confidence since joining NOFA’, says Haseeb

Have you picked up any new skills during lockdown?

I started driving lessons in October and I do enjoy that, so I guess you could call that a hobby! We’ve been in and out of lockdown though, so it hasn’t been very consistent…

Tell us what you love about music.

I started playing the trombone in Year 5, so I’ve stuck with it for quite a while. I don’t know – I've always enjoyed music whether it be classical or something more modern and contemporary. It’s always appealed to me.

I enjoy playing everything on my instrument but at the moment I’m just trying to improve my sight-reading and my sound.

Meet our musicians at Orchestras for All >

What’s it like being part of an inclusive group like National Orchestra for All?

It’s just something else, isn’t it? You see there are some people who are from other backgrounds, for example myself – I don't know anyone in my family who has actually played an instrument before, so I would consider myself the first person to delve into playing music.

Pictured: Trombonist Haseeb (bottom right) joins his orchestra friends for an inspiring youth board meeting

Pictured: Trombonist Haseeb (bottom right) joins his orchestra friends for an inspiring youth board meeting

There’s also the fact that there are people with learning difficulties and disabilities. It's amazing how they have opportunities when they wouldn’t normally. It gives you a different perspective on other people’s lives as well because not everyone’s life is easy.

It’s also helped with my confidence because I know that when I was young I wasn’t very confident – and I'm not the most confident person at the moment but I have gained confidence since joining NOFA.

What advice would you give to other young musicians who are considering joining an orchestra?

Go for it, honestly! What’s the worst that can happen, really? It’s great fun and you pick up loads of new skills in the long-term.

And finally, please complete the following sentence. Orchestras for All is…

Amazing! I don’t know how else to describe it really. It feels like a family of people from all over the UK and not everyone is the same – there’s loads of differences between each member and it’s the fact that we can be part of something bigger together.

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

QUIZ: Can you match 7/11 of these musical instruments with their orchestra families?

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Think you know your woodwind from your brass? Let’s find out…

From flutes and bassoons to ukuleles and electric guitars, all musical instruments are welcome at National Orchestra for All.

And during our Modulo Programme – supporting secondary school music teachers and leaders to build their own inclusive orchestra – sessions are made all the more enjoyable thanks to our inspiring young people and the diversity of their instruments.

But while you may recognise an instrument’s sweet (or mighty) sound, do you know which orchestra family it belongs to?

Grab a brew and take our quiz below to find out…

Read more: 11 ways playing music with others can boost your wellbeing >

From steampunk to life as a biochemistry student, meet National Orchestra for All ambassador Megan

Originally from West Bromwich, the first year biochemistry student at Warwick University has been playing the flute with National Orchestra for All (NOFA) for eight years and is now an ambassador for the group. Here’s their inspiring story…

How’s life as a university student?

Right now, we have a lot of organic chemistry to do. First year biochemists only really have organic chemistry to look at, so it’s a lot of mechanisms, how reactions work, that type of stuff.

It’s practically all been online because of Covid-19 – I’ve had two labs and two tutor sessions in class, but everything else has been online. It’s a bit tough but you know, you manage.

What music do you enjoy listening to in your spare time?

I’ve been listening to a weird amalgamation of steampunk and a lot of Hozier’s music as well. I’ve also been delving into soundtracks – as a kid I played a lot of the Professor Layton games, the music from there is just beautiful! There’s string pieces in there and accordion as well, it was really pretty.

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

‘National Orchestra for All breaks down the elitist barriers most professional orchestras have’, says Megan

‘National Orchestra for All breaks down the elitist barriers most professional orchestras have’, says Megan

What inspired you to play the flute?

When I first started playing [musical instruments], I started in Year 3 on the tenor horn. I was lucky enough to be one of the kids chosen to play and so from Year 3 up until Year 8, I played the horn.

I had to switch in Year 7 because of the music teachers, so I picked up the flute. I've always loved it – it was such a nice instrument to play. It was soft, you can play some really nice melodies on there and I just fell in love with it when I first started playing.

Find out more about National Orchestra for All’s musicians >

Which pieces of music do you enjoy playing on the flute?

Some of my favourite pieces are soundtracks. I remember in school we played the Pirates of the Caribbean theme; there was a really nice melody on that for the flute! I also like playing the Lord of the Rings soundtrack, there are some really pretty pieces in there.

Megan (pictured bottom right) presents their flute on Zoom during a National Orchestra for All course

Megan (pictured bottom right) presents their flute on Zoom during a National Orchestra for All course

Tell us about your musical journey with Orchestras for All.

Personally I joined NOFA when I was still playing the tenor horn. It was the first year and from there, I switched to the flute and it has allowed me to grow in confidence from literally a beginner to now at Grade 5. It’s been the most phenomenal [experience], the NOFA team are so caring and helped me develop massively.

Donate an instrument to a young musician like Megan >

When I left high school I didn’t actually have an instrument, so NOFA was kind enough to give me a flute (at first they gave me a piccolo but I couldn't really use that, I wasn't very good!). So they gave me a flute and that allowed me to carry on with the organisation and it was just really nice.

What’s the best part about being a NOFA musician?

Honestly, NOFA goes beyond the music for me. I’ve got so many amazing friends from doing it over the years, I’m still in contact with a lot of them now. It’s the grand sense of community that NOFA gives that can’t really be beaten by anything else.

There’s no other orchestra like NOFA. It breaks down the elitist barriers that most professional orchestras have and NOFA accepts all players of any ability, any background. It just all moulds together into one great big orchestra. I come from a fairly poor background, so if it wasn't for NOFA I wouldn’t be the person I am today and wouldn't have my friends. I’m so grateful for that and really wish that NOFA can continue on in the future and do this for so many other kids. 

It’s just always made me happy and something I’ve always, always looked forward to doing, again and again every year. Something consistent that I know is there and I’ll always enjoy it.

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Hat-tastic: Megan (pictured top right) teams up with other National Orchestra for All ambassadors to sport their favourite hats and help new orchestra members feel more relaxed on Zoom.

Hat-tastic: Megan (pictured top right) teams up with other National Orchestra for All ambassadors to sport their favourite hats and help new orchestra members feel more relaxed on Zoom.

What advice would you give to other young musicians who are considering joining an orchestra?

Honestly, just go for it! When I first joined NOFA, I was so nervous before I started. I thought it would be really serious and that you had to perform perfectly but it's really not!

And there’s also so many other activities that go on. My favourite is the recital evening. It’s such a laugh and you can perform whatever you want and it [creates] a massive sense of community. NOFA also plays lots of different types of music: we’ve done pieces from musicals where we’ve been backed by a whole choir, led dancers, rappers and poets, and we also have a lot of cultural music, so we’ve had Romani, Jewish and African music as well.

It’s been just great – it’s a lot of fun and I would tell anyone to do it.

And finally, complete the following sentence: Orchestras for All is...

Orchestras for All is a big family of musicians from all different places across the UK. It brings together so many people in such a delightful manner where we can perform music and have a great lot of fun.

Feeling inspired? Please support a life-changing programme for young musicians like Megan and donate today >

‘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.”

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.

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.

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.

“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 >