7 wonderful ways that youth leadership will empower your youth orchestra

Because young people are the future…

At Orchestras for All (OFA), we believe that youth leadership holds the potential to transform the future of orchestral music.

By encouraging young people to take on leadership roles – such as becoming an Ambassador, joining a Youth Board or providing support to an ensemble as a Young Leader, youth orchestras can benefit from fresh perspectives, innovative ideas and remain connected to modern trends.

What’s more, youth leadership can help to foster an inclusive musical community that keeps young people engaged (just like in National Orchestra for All!) as well as boost a young person’s wellbeing and social skills.

Are you a member of a youth orchestra or a music leader looking to improve your practice? If so, here are seven key reasons why you should consider embracing youth leadership in your ensemble...

Read more: In pictures: tour highlights from the summer Modulo Programme 2022 >

1. Encouraging creativity and innovation

Let’s face it, young people are brilliant at bringing unique ideas to the table. At OFA, we find they are often more open to experimentation, suggest new ideas for repertoire or live concerts, are keen to collaborate or learn from diverse artists, and use their knowledge of current technology to help us create captivating musical experiences that can reach broader audiences.

Watch this epic live concert starring one of the world’s most inclusive youth orchestras >

Young people can also act as great representatives during your live shows, assist with production (for example, at NOFA recital evenings), engage in game-changing discussions with partners and funders, and join the team as Trustees or Ambassadors.

2. Promoting diversity, inclusivity and accessibility

Pictured: An inspiring group of National Orchestra for All musicians enjoy their summer 2023 residential.

With social media platforms like TikTok making it easier than ever to share knowledge and hold live debates, young people can often be more attuned to current issues surrounding diversity, inclusion and accessibility.

We find that regularly involving young leaders in areas such as programming and key decision-making leads to greater representation of different backgrounds and demographics, contributing to a much more vibrant and inclusive culture. This cultural richness will not only enhances your orchestra and its reach, it will make your ensemble more representative of our society as a whole.

““If we have orchestras with more diversity, I think it can bring new ideas as music from around the world comes in all different forms.””

— Christian, euphonium player in National Orchestra for All

3. Boosting key skills

Leading the way: A Modulo participant tries her hand at conducting with our Associate Conductor, Rocco.

By helping to develop a young person’s musical skills, creating youth leadership opportunities within your orchestra can provide valuable life experience.

Taking on roles within orchestral management – from organising events and fundraising, to marketing and artistic planning – enables a young people to improve vital skills such as teamwork and time management as well as improving their ability to organise and communicate with others – benefitting them both personally and professionally, in any career path they choose to follow in future.

““I have always wanted to go teach and always liked the idea of music therapy. Being part of NOFA has really built my confidence for that.” ”

— Abz, National Orchestra for All percussionist

4. Peer-to-peer mentorship

Orchestras for All Ambassadors, Nell (left) and Chloe (right) help the core team at NOFA’s summer residential.

There’s no doubt that young leaders can act as inspiring role models for their peers – and at OFA, we see this happen every day! Strengthening relationships and fostering a supportive and collaborative environment within a youth orchestra creates a positive cycle of learning, where knowledge and skills are shared more freely among members.

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

Many of our Ambassadors or alumni of the Modulo Programme and National Orchestra for All choose to take on wellbeing roles, or offer their support in different instrumental sections by rehearsing and performing with the ensembles during live activity.

““At OFA, I felt the very aspects of my lived experience were not a burden; they became an entry point for meaningful contribution to the charity’s work, which is empowering and invaluable.” ”

— Xia, Wellbeing Tutor

5. Building confidence and self-esteem

Soaring strings: Three National Orchestra for All violinists celebrate their instruments during a rehearsal.

Youth leadership opportunities are incredibly important as they also give young people the chance to take ownership over their experiences, which creates an empowering learning environment in which they can build their confidence and self-esteem.

Read more: ‘Before joining National Orchestra for All, I felt helpless – but now I’ve grown in confidence and independence,’ says autistic double bass player, Noah

Playing in an orchestra often requires you to spend a lot of time following directions from your conductor (we’re looking at you, Emma and Rocco!) as well as the instructions written on your sheet music. In a traditional ensemble, there are few scenarios where a young musician would have full control over what they are doing, so why not offer them the opportunity through youth leadership?

““Before joining National Orchestra for All, I felt helpless – but now I’ve grown in confidence and independence.””

— Noah, Ambassador

6. Boosting social awareness

Pictured: Orchestras for All Ambassador, Tashan, is sharing his views with the audience during a concert

Increasingly, we’re seeing young people become the champions of social issues and drivers of widespread change (think the Kanneh-Masons, Greta Thunberg and Lewis Capaldi, among many others), with social media being used as an effective tool to help spread important messages and reach young audiences.

Youth leadership positions in orchestras also gives young people a platform to raise awareness about the topics they care most about – from climate change and mental health, to social justice and supporting the LGBTQIA+ community – using the power of music to spark conversations with others and create a positive ripple effect.

Read more: 504 students from 35 UK schools to perform a protest song as part of Orchestras for All’s Modulo Programme >

7. Sustainability and long-term vision

Members of the OFA core team, Ambassadors, Trustees and guests at NOFA’s summer 2023 residential.

By involving young people in key decision-making processes and giving them the chance to act as advocates – for example, in developing sustainable practices for your orchestra, you’ll benefit from their forward-thinking perspectives and ensure the relevance and longevity of your youth orchestra.

At OFA, we know that youth leadership is a catalyst for positive change and growth. By continuing to harness the passions of the young people we engage in our inclusive programmes, we can create a better musical landscape that resonates with both current and future generations.

Keen to support young musicians nationwide?
Please donate what you can to Orchestras for All:

In pictures: tour highlights from our summer 2023 Modulo Programme

Making powerful music with young people nationwide…

Earlier this month, the Orchestras for All team went on tour with the Modulo Programme for the first time to bring inclusive music-making activities to school students all across the UK.

From the University of York to the Royal Birmingham Conservatoire, the Royal Northern College of Music in Manchester to the Royal Academy of Music in London, our venues for the Meets provided the perfect backdrop for the 330 young people in attendance – 171 of which had never played in an ensemble before.

By working in close partnership with these venues as well as engaging with their participation teams and inspiring students – many of which joined us as orchestral tutors during the Modulo Meets, we were also able to share best practice for running inclusive music-making sessions with our four brilliant ensembles.

Alongside improving their social and instrumental skills during sectional and full orchestra rehearsals, our diverse cohort of participants had the opportunity to perform an eclectic programme of music to special guests together as one large-scale orchestra – with Nena’s ‘99 Red Balloons’, Joe Hisaishi’s ‘Merry-Go-Round of Life’ and Christopher Larkin’s ‘Hornet’ all becoming firm favourites.

During the York Meet, Modulo percussionist, Kiara, from All Saints Catholic College in Huddersfield, told us: “My favourite piece is ‘99 Red Balloons’ – it just sounds so good with everyone playing together! Also, a really kind thing that Modulo has done for me is donated a drum kit. It really helped me out because I needed a drum kit to practice with at home – I’m so grateful for it.”

In London, Modulo musician, David, from Harris Academy Morden, said: “I’m so excited about our live performance later today and I’ve really enjoyed my trips with Modulo and Orchestras for All. I hope that other people have enjoyed them as much as me!”

Scroll down to browse all the highlights…

Read more: Introducing the newest members of the Orchestras for All team >

York: University of York

Birmingham: The Royal Birmingham Conservatoire

Manchester: The Royal Northern College of Music

London: The Royal Academy of Music

On behalf of everyone at Orchestras for All, we would like to thank our funders, Arts Council England, the Department for Education, the Scops Arts Trust, 29th May 1961 Charitable Trust and the Rayne Foundation as well as each of our individual donors, charity volunteers and loyal supporters who help make the Modulo Programme possible.

Please support aspiring young musicians across the UK and donate what you can today:

504 students from 35 UK schools to perform a protest song as part of Orchestras for All’s Modulo Programme

Modulo participants will also be teaming up to play a popular film theme penned by esteemed Japanese composer, Joe Hisaishi.

The 2023 spring season of musical activity is well underway at Orchestras for All (OFA) and for the Modulo Programme, this means working with a keen new cohort of students and music leaders from maintained schools across the UK.

Due to growing demand for participation in its music-making activities, the Modulo Programme was oversubscribed for the first time in OFA’s 10-year history, with a total of 43 applications. The team are now pleased to welcome 504 students from 35 schools, from Croydon to County Durham – 26 of which are new to the programme and eight returning.

Of these schools, 11 are from Arts Council England’s Levelling Up for Culture Places​, six are from its Priority Places, 22 have more than the national average claiming Pupil Premium (27 per cent) and seven have 40 per cent of pupils eligible due to economic deprivation.

A participating teacher said: “I am developing my music department and need support – every year, we are getting more and more students picking up an instrument or wanting to learn; however, we do not yet have an established orchestra or ensemble as I don’t have the time or resources to set up and lead an accessible ensemble.”

While the majority of Modulo ensembles are based in schools, we are delighted to share that one of this year’s ensembles has also been set up for young people who are home-educated, making our charity’s work even more inclusive as we strive to reach those who are otherwise unable to access group music-making opportunities.

Read more: BBC Young Jazz Musician 2022 finalist Ralph Porrett shares a virtual tea break with Orchestras for All >

Modulo’s inclusive arrangements have been specially designed to cater for all levels of experience and abilities – from beginners right through to Grade Eight musicians – as well as different instruments, including non-traditional instruments. Some participants have physical disabilities, others are young people with SEND and throughout the season we will be collaborating with a member of OFA’s wellbeing team, Xia-Leon, to produce parts using Braille music for visually impaired members of the youth orchestra.

This year, OFA’s Modulo Meets will be taking place in four vibrant city locations, at arts venues and higher education institutions each boasting a prestigious reputation as we seek to inspire the young musicians participating in our programmes.

Learn more about Orchestras for All’s impact >

In Birmingham, we’ll be heading to the Midlands Arts Centre (MAC) and Royal Birmingham Conservatoire, while London Meets will be held at Cecil Sharp House and the Royal Academy of Music. Further north, participants will be teaming up at the Royal Northern College of Music in Manchester as well as the University of York.

Repertoire is based around the theme ‘Sounds of Change’ and will include the 1984 chart hit and protest song, ‘99 Red Balloons’, which was made famous by German singer-songwriter Nena, along with ‘Merry-Go-Round of Life’ – the stunning main theme for anime movie, Howl’s Moving Castle, written by Japanese composer, Joe Hisaishi. With several bass guitarists, alto saxophones, drummers and French horn players joining the ensemble in 2023, our new cohort of young musicians will surely be making a powerful sound.

Alongside Artistic Director, Emma Oliver-Trend, a team of professional orchestral tutors – including BBC Young Jazz Musician 2022 finalist, Ralph Porrett (watch video below) – and conservatoire and university students will be on hand to support each section of the ensemble.

They will be joined by OFA’s core team, 10 inspiring new Ambassadors (former Modulo and National Orchestra for All members) and Modulo Leaders, who will also be supporting participants throughout.

While each event will provide a similar structure – including full orchestral rehearsals, sectional rehearsals, a creative project and time for performing and social activities – each participant can expect to enjoy a bespoke musical experience based on their individual needs.

A recent Modulo participant said: “I feel more confident after this experience because I’ve played in front of a lot of people, so now I feel like I can do anything!”

Another commented: “Go to Modulo if you want to learn how to play a new instrument – but even if you already play one, it’ll still help you to build on your skills.”

On behalf of everyone at Orchestras for All, we would like to thank our funders, 29th May 1961 Charitable Trust and the Rayne Foundation, and each of our individual donors, charity volunteers and loyal supporters who help make the Modulo Programme possible.

Keen to support a young musician on the Modulo Programme? Please donate today:

Join our live webinar for music leaders this November and create unity in your mixed-ability ensemble

The virtual event aims to boost creativity and inclusivity in ensembles at a time when many of the nation’s music leaders are under-resourced.

Are you keen to take your youth orchestra to the next level? If so, join us later this month as Orchestras for All (OFA) hosts the fourth live webinar in its Music Leadership Training series.

Titled Mixed-Ability Ensembles: Finding Unity, the one-hour session is scheduled to take place via Zoom at 16:00 GMT on Wednesday 30 November 2022 and will be led by the charity’s Artistic Director, Emma Oliver-Trend.

Emma said: “What runs through your head when someone says ‘mixed-ability ensembles’ – one big compromise? A musical mishmash? At OFA, we have a ‘three-ingredient recipe’ for working with a mixed-ability ensemble: carefully created music parts, a variety of notation and music learning options as well as rehearsal techniques that create unity in the group – the focus of this session.

“Also known as NOFA, our National Orchestra for All is a 100-piece mixed-ability orchestra. We have Grade Eight-ers sitting next to complete beginners and we’ve worked this way for over 11 years – living proof that mixed-ability ensembles can be satisfying both musically and socially.”

Read more: Vulnerable young musicians supported nationwide as Orchestras for All secures new Arts Council England funding >

Pictured: Emma Oliver-Trend leads the way during a Modulo rehearsal at Royal Northern College of Music

While the webinar is free to attend, participants are invited to donate what they can to help OFA continue its life-changing work in breaking down barriers to group music-making for young people, which has become ever more vital at a time when hundreds of schools, music hubs and arts organisations are currently struggling across the country owing to lack of funding.

Learn more about Music Leadership Training >

Following the success of Emma’s last webinar, which explored how to redefine rehearsals and included a live Q&A, the forthcoming session will surely be a thought-provoking afternoon for both attendees and the Cornwall-based musician – a keen classical and folk violinist, whose previous roles have included Principal Guest Conductor of the Harlow Symphony Orchestra and Founder Director of the Ware Community Orchestra.

Emma has also produced several operas and arts programmes for Welsh National Opera and Dartington Arts, and collaborated with Belgian singer, Nele Van Den Broeck, to pen the stage musical ‘How to fail at being perfect’ – a Young Lyric Production performed at the Lyric Hammersmith in August 2017 and Latitude Festival 2018.

“We value equality of opportunity, removing hierarchy and accessibility to rehearsals,” says Emma

Meanwhile, Emma’s current role as Artistic Director at Orchestras for All includes orchestral conducting, creating large-scale inclusive arrangements, leading conducting training for music leaders and contributing towards the artistic programme of the charity.

Speaking about Mixed-Ability Ensembles: Finding Unity, she said: “This session aims to share our approach, practical ideas and challenges and will invite you to share yours! Our starting point is to invest in a strong community – a culture of social and musical equality that is essential to making a great orchestra.

“We also think it is vital to acknowledge and activate the wide range of musical abilities that young musicians bring. We value equality of opportunity, removing hierarchy and accessibility to rehearsals through inclusive learning.”

Mixed-Ability Ensembles: Finding Unity comes after music education consultant, Professor Nate Holder, and music producer, Jack McNeill, also delivered live webinars this year as part of OFA’s Music Leadership Training series.

13 ways you can be kind to others in an inclusive youth orchestra

From sharing a tuning fork and exercising patience to checking in on your musical neighbour, it’s good to be kind…

Joining an inclusive youth orchestra and meeting a diverse group of musicians who share your passion for performing is an exciting experience that creates memories to last a lifetime.

But for newcomers or those facing significant challenges outside the rehearsal room, such as a physical disability or mental health condition, it can also feel very daunting.

To raise a smile and help others along on their musical journey, here are a few top tips from our National Orchestra for All ambassadors.

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

1. Help each other when setting up the space

It’s a very simple thing but makes such a difference. I always find that everyone chipping in when taking out or putting away stands and chairs during a rehearsal helps me feel a bit more connected with the other musicians. – Isaac

2. Be aware of your neighbours (in all directions)

Always check that everyone knows what’s going on and that they’re feeling okay – and if you see someone who isn’t, try to help them or tell someone who can. We all have to work together to make such wonderful music! – Joe

Learn more: 5 of the best ways to protect your wellbeing >

3. Make sure everyone can see

Be aware of how you position yourself, so that both you and your orchestra friends can easily see the music and keep eye contact with the conductor. Music notations are great and are usually added mid-practice, but any notations should be clear to everyone. – Mars

4. Get to know people

Don’t be afraid to talk to others, even if it’s just something about the music. Being friendly with the people you’re playing with can make even the longest day of rehearsals more enjoyable – and you know that you’ve already got one thing in common with them… you all love music! – Phoebe

Meet Orchestras for All’s musicians >

5. Don't get worked up about technical mistakes

If someone fluffs up during a rehearsal, don't pressure them or make them feel bad about it. Rehearsals are a time for you all to identify the bits that need work – and if you create an atmosphere where it’s okay to make mistakes, people will feel more confident about experimenting with the important stuff in the music like colour and tone. – Isaac

6. Share with your desk partner

You and your desk partner (if you have one) are going to be in close proximity to one another for a long time. If you show patience, share that rosin or tuning fork and find the ‘sweet spot’ where you can hear both parts equally, you’ll be fine. – Joe

7. Lead by example

Conductors are just as important as the music as they count you in and out, so they should make sure they always project their actions clearly for an inclusive group. Every leader has a different conducting style, so pay special attention to how they move and don’t be afraid to ask questions if you are unsure. All of the National Orchestra for All conductors are really nice! – Mars

8. LEND a pencil

Sounds daft I know, but we’ve all been there: digging into the bottom of your bag for the pencil you swear you put in there last night, only to end up empty-handed. Bringing a pencil gives you an easy way to introduce yourself to people and strike up a conversation. Plus, it makes everything sound better because you can all mark your sheet music! – Phoebe

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

9. Check in between rehearsals

When you’re in an orchestra you can go a long time without seeing one another between events, especially during the coronavirus pandemic. It’s always nice to check that people are doing okay when you see them but this goes for outside the orchestra setting too – stay in contact with your musical friends, it could brighten their day! – Joe

10. Count, count, count!

When you have a long rest or multiple bars of rest, count on your fingers – this is really helpful for both you and your partner if either of you ever loses your place. Sometimes when this happens in National Orchestra for All rehearsals, keeping an eye on the tutors who are counting really helps too. – Mars

Find out more about Orchestras for All’s tutors >

11. Stay professional

I know, it feels impossible not to constantly chat when you’re surrounded by all your friends – but you’re not in rehearsals to natter, you’re there to play music! I’m not saying you have to stay silent at all times, but being quiet when your conductor or teacher is trying to help others means they’ll be happier and makes getting through the music a breeze. Plus, easier rehearsals means shorter rehearsals – giving you more time to chat outside afterwards! – Phoebe

12. Give everyone their time to shine

If you’re learning tricky sections of repertoire, some members will take longer to master their part than others. If someone has been struggling with that epic trill, bowing pattern or reaching that top note for a while but perfects it later on, celebrate the wins! By encouraging others as you go along, you'll foster trust and have more fun.

13. And finally, treat everyone equally

It doesn’t matter where you’ve come from or what challenges you may be facing outside the rehearsal room – an inclusive orchestra is all about togetherness and when you arrive, you can leave your worries at the door. From pretty flute solos and catchy riffs on the bass guitar to soaring strings and booming brass, remember that each and every member has an important part to play. So without further ado, let’s make music!

Feeling kind? Please support diverse orchestras and donate today > 

7 ways to support autistic musicians in your youth orchestra

Being autistic is a young musician’s superpower – and with the right level of support, guidance and opportunity, they can thrive.

In the UK, an estimated 700,000 people have a diagnosis of autism, with one in 100 of those being our young people.

Also known as ASD (autism spectrum disorder), ASC (autism spectrum condition) and Asperger’s (or Asperger syndrome) – often used to describe autistic people with above average intelligence – autism isn’t a medical condition, it just means that your brain works in a different way to ‘neurotypical’ people. It exists on a spectrum, so everyone with autism is different; some may need little or no support, whereas others require daily help from a parent or carer.

Famous musicians with autism, or thought to have had autism, include Britain’s Got Talent winner, Susan Boyle, Aphex Twin’s Richard James, singer-songwriter James Taylor, rapper Eminem and multi-instrumentalist, Ladyhawke, to name but a few – not to mention the late great composers, Mozart and Beethoven.

At Orchestras for All, we celebrate each and every one of the young people in our diverse, music-making family – this means championing autistic members as well as those who may be living with a physical disability, learning difficulty or mental health condition.

Recent case studies from the National Autistic Society have also shown just how powerful and effective music therapy can be for autistic musicians, having a positive impact on their overall wellbeing and development as well as providing a unique way to connect. So, here we share just a few ways you can support autistic musicians in your youth orchestra…

Read more: Orchestras for All wins award for Outstanding Musical Initiative at the Music and Drama Education Awards 2022 >

1.    Be aware of your environment

With autism, everyday sensory information is processed differently. Some people can be oversensitive to the senses, while others can be undersensitive or have a mixture of the two.

During your orchestra rehearsals and live events, avoid the use of fluorescent or strobe lighting to minimise the risk of epileptic seizures, provide earplugs if needed, shut doors and windows to reduce external sounds, and prepare a young person in advance if you plan to visit noisy or crowded places. Making the environment as fragrance-free as possible and allowing your musicians to rehearse in clothes they feel comfortable in can also be helpful.

National Orchestra for All’s Wellbeing Lead, Elli, and her son Lucas, an autistic trumpet player, told us: “People with autism may move around or fidget – do not assume this a sign of boredom or disengagement but a way of staying focused. While some will enjoy loud music, they may find other loud sounds (like people shouting) difficult, and many prefer to sit on the end of a row.”

Credit: RuiYing Wang, Royal Northern College of Music

2.    Set up quiet spaces

Always ensure there is a quiet room for your orchestra members to take a few moments out, should they need a quick break to relax. If available, rooms with little clutter and a green, blue, pink, soft orange or neutral interior can be particularly comforting, and you may wish to consider playing soothing sounds.

Whether you’re holding a rehearsal, at a concert venue or meeting with your young people somewhere externally, these designated areas of calm can be extremely helpful if your autistic musicians are feeling overstimulated, providing them with a safe space to manage their senses before returning to the group.

3.    Structure is crucial

Wherever possible, try to establish a regular routine and provide structure. Share any schedules well in advance, letting your young musicians know what time rehearsals will start and finish as well as timings for any upcoming events and when members can eat or take a break.

Staying consistent makes your activity more predictable for those with autism, and using visual cues can also be helpful.

4. Be friendly and approachable

For many autistic people, social interaction and developing new friendships can often feel like a struggle, so having a positive team of staff on hand – perhaps even a wellbeing team, like at Orchestras for All – can be reassuring for those dealing with anxiety and uncertainty.

Always lend an ear if needed and consider arranging for a chaperone to accompany autistic orchestra members to, and during, your live events, helping them to find their way around a new venue or relax them in unfamiliar social situations.

5. Communication is key

Try to be direct in your communication, giving short, concise instructions to ensure your autistic musicians clearly understand what is required of them and provide 1:1 explanations if needed. Avoid the use of sarcasm (which can be hard to pick up on) and relying too heavily on facial expressions or body language.

Offer multiple ways for young people to provide feedback – while verbal communication might be easy for some, others may prefer to share their ideas in written form or recorded as a video or audio clip.

You could also help by breaking down musical activities into small, easy-to-manage steps, providing coloured filters or sheet music printed on coloured paper, and using the ‘arm’s-length rule’ to judge personal space when interacting.

6. Create an inclusive culture

At Orchestras for All, fostering a culture of music-making that is free of judgment is important to us. We’ve seen firsthand through our three life-changing programmes just how powerful this can be, increasing levels of productivity and allowing young people to confidently express themselves with tutors as well as neighbours in their section.

Welcome musicians into your ensemble from diverse backgrounds, who are of mixed ability and play any instrument (alongside those traditionally found in an orchestra), and implement inclusive recruitment strategies for staff to help young people relate to those around them.

7. Remember, each musician is truly unique

Finally, despite some of the barriers that autistic people may face, there are so many valuable gifts and inspiring qualities that can come with neurodiversity.

National Orchestra for All’s Wellbeing Lead, Elli, said: “Young people with autistic spectrum disorders have extraordinary minds. Many have an exceptional talent for music. I have had the privilege of working with autistic young people for many years and continually see strengths and abilities that make them great musicians.

“These include memorising and learning information quickly, thinking and learning in a visual way, being precise and detail-orientated, exceptional honesty and reliability as well as being dependable – especially with schedules and routines. They also have a drive for perfection and order, along with a strong capability for alternate problem-solving and a rare freshness and sense of wonderment.”

We believe that being autistic is a young musician’s superpower – and with the right level of support, guidance and opportunity, they can thrive. So, continue to nurture your autistic peers; your youth orchestra will be much richer for it.

For further information about autism, or if you are autistic and would like to find the right support, the NHS website shares a wide range of resources – from local groups and charities, to social media forums.

To empower aspiring young musicians across the UK, please donate today >

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!

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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.

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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 >