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.

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.

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.

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 >

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.

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.

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 >

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