‘Tis the season to be jolly: meet Orchestras for All’s barrier-smashing new trustees!

From fundraising experts and young musicians to marketing-savvy professionals, here we introduce the latest additions to our team…

Orchestras for All (OFA) is delighted to announce that its Board of Trustees has welcomed six inspiring new members in a bid to elevate its practice and take the charity to new heights.

The decision comes as OFA continues to strive towards its bold vision: a country where all young people have access to the benefits of orchestral music-making regardless of the daily challenges they might be facing.

According to the Young Trustees Movement, less than 3 per cent of charity trustees are aged 30 and under despite young people often being an integral part of their work, while one in 12 trustees are named either John or David – highlighting the growing need for board diversity across the sector.

With this in mind, OFA is proud to share that its new trustees include Belfast-based musician, Chloe Morgan – an alumna of its inclusive, non-auditioned youth orchestra, National Orchestra for All (NOFA), who participated in three seasons of the programme and also supported the charity as a dedicated Young Leader, Youth Board member and co-host of OFA’s online fundraising launch event last winter.

This means that a quarter of OFA’s Board of 12 Trustees are currently aged 23 and under or alumni of its programmes. Chloe said: “Joining OFA back in 2018, I had no idea that I would wind up a trustee but I always wanted to give back to the organisation that led me down the path to here. From a young age, I’ve had a passion for politics and community work (and of course music) but it was joining OFA that made me realise the gap that existed for accessible music-making – and the need to fill that gap.”

Read more: ‘A more equal world is a safer place for everyone,’ says visually impaired composer, Xia-Leon >

Chloe continued: “Having benefitted so much from music and NOFA, I’m excited to help OFA evolve and I’ve already been involved in discussions about exciting new things. Learning from the OFA team and Board of Trustees is a big thing for me – they have so much experience in so many fields and I’m sure I’ll be all the wiser from working with them. Most importantly, I’m ready for OFA to achieve what the Youth Board likes to call “world domination!”.

Learn more about Orchestras for All’s young musicians >

Joining Chloe on the Board is senior leader in the international development sector, Rosie Parkyn, who runs a radio station for young people at Riverside Studios, and Rachael Adediran, who takes over from former trustee, Emily Sayers, and has kickstarted a culture of music-making for hundreds of young people during her time as Associate Assistant Principal at Skinners’ Academy in Hackney, London.

Rosie said: “I believe everyone should have the opportunity to access and make music as much as they wish. It is always life-enhancing and can be transformational. I am frustrated that these opportunities are still not available to all young people – they should not be a luxury. This is why I support the fantastic work of Orchestras for All. I am immensely proud to be a Trustee and hope that my professional experience in non-profit leadership will help this organisation realise its immense potential.”

Rachael added: “I first knew music was going to feature in my life aged seven when I passed the ‘test’ to have flute lessons at school and, in the same year, joined the Steel Band – no test necessary! These two steps started me on a lifelong journey of music-making and I have actively worked to remove barriers to participation for young people. OFA also does fantastic, truly inclusive work in removing those barriers, so I'm really excited to be part of its journey as a Trustee and support the team who drive it forward!”

Pictured (clockwise): New Orchestras for All trustees Rachael Adediran, Chloe Morgan, Philip Raperport, Rosie Parkyn, Dominic Parker and Lucinda Coulthard

Working alongside Rosie and Rachael is Director of BBC Scottish Symphony Orchestra, Dominic Parker, whose background includes fundraising and marketing for Southbank Centre, London Philharmonic Orchestra and Royal Welsh College of Music and Drama, as well as freelance arts fundraiser and former Head of Development at Scottish Chamber Orchestra, Lucinda Coulthard, and Commissioning Executive for BBC Sounds and Radio 3, Philip Raperport.

Dominic said: “OFA is doing incredible work and is at a pivotal point in its development, having just joined the Arts Council’s NPO portfolio. I’m very happy to be joining the Board of Trustees and to lend my support and experience as this inspirational company continues to make music with hundreds of young people each year.” 

Lucinda commented: “I can’t remember when music wasn’t part of my life. Learning the recorder with my classmates during Year one at Primary School was possibly the first time I felt genuinely good at something – and now I know how much I benefitted from that newfound confidence. I firmly believe that every young person should be able to achieve their potential – and there is plenty of evidence to prove how much performing music in ensembles can help with so many important life skills. I’m so pleased to be a Trustee of OFA and I look forward to playing my part in its future.”

Watch National Orchestra for All’s epic summer concert >

Philip added: “The role of collective music-making in stimulating creativity, developing social skills and supporting wellbeing is hugely undervalued, and OFA’s mission to support and empower young people through access to instruments and playing music together has never been more important. As a Board Trustee, I hope I can play a small part in supporting the charity’s big ambitions. I’m most excited about working with and learning from the Youth Board and other young trustees. OFA is unique in the way it prioritises and champions young voices, not only through its programmes but within the charity itself.”

On behalf of everyone at Orchestras for All, huge congratulations to each of our new trustees and a warm welcome to the team!

Please support OFA’s life-changing programmes and donate today >

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

Meet Kate. The Belfast-based trumpeter and university student first joined National Orchestra for All (NOFA) as a young person facing barriers to music-making. Now, she’s an ambassador for the group. We shared a virtual tea break to find out more about her musical journey…

What inspired you to play the trumpet?

When I was in primary school, the City of Belfast School of Music used to visit and they would test us to see who had a natural musical ability. Of course, I wanted to play violin because I thought it was very dainty, but I got told that my fingers were too small! I was given a trumpet instead and at the time I was heartbroken. I was like, ‘Urgh, I just want to play the violin!’. But as soon as I went to my first trumpet lesson, I knew I was meant to play this instrument. It was so me!

At first, I actually played a cornet because I was too small for a trumpet. When I went to secondary school they didn't have any brass lessons but because I loved learning it so much, I auditioned for those and did some aural theory classes as well. I just loved it! I think it’s so interesting to learn an instrument that is typically associated with males. In most of the bands and orchestras I've been in, it's very male-dominated in the brass section, so to be this small girl walking in with such a loud instrument feels very empowering.

What music do you like to play?

For brass, I really enjoying playing show music. In our school band, it was great to hear such a big sound from this section. But every section has its own little flavour and every part is significant. In NOFA, even though we usually play orchestral music it feels like that as well, where everyone’s part has such meaning, and it’s just so good to hear everybody come together. Even the quietest of sounds will still convey the emotion or story of the music.

Read more: ‘We need to support the next generation of change makers’ – arts expert explains why wellbeing is vital for young musicians >

Otherwise, I’m a bit of an old soul – I have very dad-like taste in music! I’m obsessed with the ‘60s. At the moment, I love the Beatles. They’re the kings of rock in my opinion! And Blondie’s Parallel Lines is a great album, especially the song ‘Heart of Glass’. When I was younger, my parents would have had me listening to a lot of ska. I also like Bob Marley – he’s a very chill guy and his music is great to study to. He’s one of those artists that you can just vibe to when you’re doing life, he’s so accessible for everybody.

NOFA ambassadors share their musical favourites >

Tell us about your journey with Orchestras for All.

Compared to the other ambassadors, I joined Orchestras for All (OFA) quite late, when I was 16. I was nominated by one of the teachers at my school, who is actually a member of the wellbeing team at the charity. I remember the first time I attended a session – I was so nervous because I felt like a tiny fish in a big pond. I’m from a very small town and the majority of the orchestra usually comes from the mainland of the UK, so it was a bit intimidating.

But the way it was run made it accessible for everybody. At the time I was studying my GCSE music and thought, ‘Hm... I don’t know whether to do an A Level or not,’ but OFA gave me the confidence to perform, understand a piece of music when I looked at it and also know how to speak about it. I didn't feel like I had a lot of confidence in myself and they were like, ‘You should play! What’s the worst that can happen if you sound bad?’ The only way you can move is forwards – you can’t really move down in your ability. And now I’m an ambassador! I just love the message that it represents. It’s so inclusive and you meet so many people.

Pictured: Ambassador Kate (middle left) enjoys a moment of togetherness with National Orchestra for All

Has Orchestras for All broken down any music-making barriers for you?

Well, in Northern Ireland, music is a massive part of where we come from and it can be really competitive. But in NOFA, it’s not competitive at all. You’re never stepping on anybody’s toes – people want to see you thrive. It’s refreshing! I was lucky that at a young age, I was able to go to the School of Music because my parents were able to get me in and fund me to go. But I think the thing we need to focus on is the “luck” part. It shouldn't be about “being lucky” and it shouldn’t be about the school you go to, the parents you have or the status you have in your community.

Orchestras for All is an organisation that isn’t based on luck, ability or your background – they’re so focused on you as a person as well as a musician. They care about how you feel, how you think and how you respond to certain practice techniques – and the communication in wellbeing groups isn’t something I had experienced before.

Read more: RPS Awards 2021: Orchestras for All shortlisted in ‘Impact’ category >

What’s the best part about playing in an inclusive ensemble?

In some bands I’ve played in you have your brass, your winds and maybe a violin now and then, but Orchestras for All includes the piano and even melodicas, guitars and ukuleles – diverse instruments that you wouldn't typically see in an orchestra if they were to go and perform. I think it’s so cool and exciting that these are added in! That sort of representation and seeing your instrument in an orchestra inspires young people.

Some young people think that classical music is all: “You need to be able to read sheet music and can only perform if there’s a piece of music in front of you,” but in NOFA, we often play pieces from memory. It’s amazing to use your ears, have that sense of camaraderie and be in an environment where your conductor actually lets you lift your head to look at your friends and do something funny to make them laugh during a rehearsal! We appreciate that. I think some conductors should loosen up a wee bit and that’s what I like about our conductor, Emma – she makes it so much more fun and inviting.

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

Do not be afraid to play out. I’m still a victim of this where I’m afraid to play out sometimes, but the worst that can happen is that someone audibly hears something wrong within your section and you stop. But it’s also the best thing that can happen because they can isolate that little bit you're struggling with and actually help you to perfect it.

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

Chances are, there’s other people who are struggling with that same bit all around the orchestra. If one person is finding something hard, I can guarantee there’s about three other people who are finding it hard too – they’re just too proud to admit it. So, just play out! It’s all a big learning experience.

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

…a community. A place where you can go to learn about music and hear a variety of styles that you might not hear in your hometown. You make great memories and new friends, it’s amazing. When you’re an ambassador, you have to get along and work together but even outside of NOFA, we’re still as close as ever. OFA brings people together through music.

A fun fact about me is that I love to dress as if I’m in the ‘60s and ‘70s! I love going out and wearing the massive go-go boots, with everyone looking at me as if I’m a complete weirdo. I think it’s hilarious. But with OFA, I don’t think there's anything more powerful than being able to connect with a group of young people who are all wonderfully different in their own way.

We shouldn’t have anything in common since we’re all so diverse, but we’re united by a note – whether that’s a C or a C#! OFA is a place where young people can come together to appreciate and enjoy something really accessible – and that thing is music.

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

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 >