Music exams made simple: James Welburn from ABRSM answers your most asked questions

At Orchestras for All, we love the fact that there are so many different ways to celebrate progress in music, and for some young people, graded music exams can be one of them. We also know that exams can feel like a big step in your musical journey, especially if you don't know anyone who's been through the process before. 

That's why we spoke to James Welburn from ABRSM to chat about everything from what happens on exam day to preparing, managing nerves and remembering that an exam is just one part of a much bigger musical journey. 

1. Please could you introduce yourself 

I’m James Welburn, Deputy Head of Engagement at ABRSM, as well as a composer, pianist and guitar player. I’m part of ABRSM’s Engagement Team looking after partnerships and programmes for next generation musicians. Our engagement activities are an exciting part of our work as a global music education charity. 

2. For someone completely new to music exams, what different types of assessments does ABRSM offer, and how do they suit different kinds of learners? 

We offer a wide range of exams and assessments for musicians of any age or stage in their learning, from the Prep Test and Initial Grade for beginners to Diplomas in Performance, Teaching and Directing. Assessments are available for all kinds of instrumentalists and singers.  We also offer Music Theory exams and Creative Musicianship qualifications in Composing, Music Production and Songwriting. Candidates can often choose from face-to-face and digital options. 

3. How do exams develop as you progress through the grades? What really changes from grade to grade? 

Our exams encourage the development of a wide range of musical skills, knowledge and understanding. 

Our Practical Grades allow learners to demonstrate skills in performance, as well as technique, notation, listening and musical perception. Our digital Performance Grades provide an opportunity to demonstrate skills in delivering a whole performance, communicating musically over a sustained programme. In both routes, each grade is progressive and represents a new challenge for the learner, providing motivation and structure to develop their musical skills. 

Read more: 11 groundbreaking black composers you’ll wish you’d discovered sooner

4. What skills do exams help build beyond just musical ability? 

All sorts! Any performance – including one where the audience is an examiner – helps to develop confidence and communication skills. If you’re playing with an accompanist, you develop listening and teamworking skills. And if things don’t quite go according to plan, it can develop resilience and the ability to keep going. 

5. Exam nerves can be a big barrier for us all, what are your top tips for managing anxiety on the day? 

Kate Andrews, one of our Chief Examiners, talks about this in her blog, ‘Unpacking performance anxiety’, and we share some top tips on our website here. 

For me, I always start with the fact that I love playing music – what a joy to be able to share that with other people! This immediately helps to settle some nerves as I know I’m going to be doing something I really enjoy. For exams it helps to feel fully prepared, while recognising that you can’t control everything that happens. What you can control is your approach to practice, the pieces or songs you choose, and how confident you feel with any supporting tests: scales and arpeggios, sight-reading and aural.  

6. Can you walk us through the full exam experience, from booking to receiving results? 

We have lots of guidance available on our website about this, which will be informed by your choice of exam.  

If you’re taking a face-to-face exam, you’ll arrive at the venue ahead of your exam time and will usually have the opportunity to warm up before you enter the exam room. Our examiners are there to help provide the best exam experience they can for candidates – in fact, the examiner motto is ‘I’ll do my best to help you do your best’. They’ll greet you with a friendly hello and smile and help you get settled in – making sure the piano stool or music stand are adjusted correctly for you. Knowing that examiners are all musicians and often music teachers themselves can be reassuring – they want you to feel as comfortable as possible in your exam so that you can showcase your musical skills!  

We aim to release results for Practical and Performance Grades within seven days – although this can take up to 28 days. You’ll receive an email when results are ready to view.  

Read more: Supporting the next generation: why mental wellbeing is more important than ever

7. How long does an exam usually last, and does that change depending on the grade or format? 

Exams vary in length depending on the grade and instrument, as well as to accommodate any access needs that candidates may have. A face-to-face Practical Grade 1 Piano exam is 12 minutes from start to finish – enough time to play three pieces and complete the supporting tests at this level. A Practical Grade 8 exam lasts for 30 minutes as the pieces are much longer. If instruments require tuning, exam slots are slightly longer. 

Performance Grade exams, which are assessed from a video recording, have their own timings.   

You can find full details in the qualification specification for your exam.  

8. How does ABRSM work to make exams feel more welcoming and less intimidating, especially for first-time candidates? What adjustments or support are available to make the exam experience more accessible? 

Our teams work hard behind the scenes to provide the best possible exam experience for candidates – many of us have taken music exams ourselves and know how important it is to have a welcoming and inclusive experience.  

Our examiners all receive training that provides them with the skills to help candidates feel as relaxed as possible in face-to-face exams.  

We also have a team of Honorary Local Representatives (HLRs) in the UK supporting our exam operations, from finding and booking suitable venues to working with the examiner to make everyone feel comfortable and welcome. 

We have a wide range of options available for candidates with specific needs to ensure they are supported throughout their exam experience. We recently created some videos to bring this to life, featuring James Risdon, our Access Lead, and Kate Andrews, one of our Chief Examiners. Check the videos out here – and please do get in touch with us via specificneeds@abrsm.ac.uk if you’d like to ask about specific needs requirements. 

9. What happens if you don't pass and how should you approach next steps? 

While examiners cannot offer teaching tips or recommendations, the mark form comments are designed to offer a summary of what was presented in the exam. It’s often a really useful starting point for candidates and teachers to discuss the commentary and reflect on each section of the exam. 

Read more: 2025-26 NOFA highlights from a NOFA member

10. What does effective exam preparation look like in the weeks or months leading up to the assessment?  

Effective exam preparation will look different for each of us – and, of course, it’s always useful to think of exams as one part of a broader music education. Teachers are best placed to advise on practice tips and structures for individuals. 

We do have a range of apps designed to help learners as they prepare for exams – from aural and sight-reading skills to scales and practising pieces or songs.  

11. How do exam fees work, and what should you know before entering? Is there support for exam fees available, and if so, how could you go about accessing it? 

Exam fees are reviewed and set annually and can be found on our website dates and fees page. We hope our exams and assessments are accessible to as many learners as possible.   

As a charity, we offer an exam discount scheme in the UK. It’s designed to alleviate some of the financial barriers that families may face when accessing exams. The scheme is administered for us by Music Mark, the UK’s subject association for music education. Discounts are available through music services in England, Scotland, Wales, Northern Ireland, the Isle of Man and the Channel Islands, so you can get in touch with your local music service to find out more. 

12. Are there alternative ways to progress musically beyond sitting graded exams? 

Absolutely! Progression comes in many and varied forms – and learners can explore what progression looks like for them. For me, performing to new audiences, tackling a new piece of music, learning a new chord progression and playing with other musicians all offer opportunities to progress in my music making. 

Read more: A look back on the 2025-26 NOFA season

13. Where can musicians go if they have questions or need guidance during the process? 

You can always get in touch with us if you’d like any guidance or support, whether about the exams themselves or the practicalities of exam bookings. We’re available via email, phone and web chat, and of course there are lots of supporting resources on our website. Do also check out our brilliant content on Instagram, TikTok, Facebook, YouTube and LinkedIn that we hope will inspire a life with music!  

A huge thank you to James and the team at ABRSM for taking the time to share their advice and insights with us. We hope this conversation helps answer some of those questions, reassures you if you're feeling a little nervous, and reminds you that music is about so much more than grades. Every single practice, performance and new piece you learn is something to be proud of, and we're here to cheer you on every step of the way! 

If you'd like to find out more about ABRSM, including their exams, resources and support for learners, head over to their website to explore everything they have to offer. 

11 groundbreaking Black composers you'll wish you'd discovered sooner

Looking to broaden your musical world? Then look no further...

Here at Orchestras for All, we truly champion equality, diversity and inclusion, whether that’s relating to the young musicians we work with or the music they perform.

That’s why this Black History Month we’re taking a moment to celebrate the powerful musical contributions of Black composers throughout music history.

From classical pioneers to modern genre-blenders, here are eleven inspiring composers who reshaped the world of music as we know it (and trust us, you’ll want to add them to your next playlist…)

Read more: Supporting the next generation: why mental wellbeing is more important than ever

1. Florence Price (1887–1953)

National Orchestra for All performing ‘Allegro’ from Florence Price’s Symphony in E Minor.

Florence Price made history as the first African American woman to have her work performed by a major U.S. orchestra. Premiering in 1933, her Symphony No. 1 in E minor blends African American spirituals, Western classical forms and vibrant rhythms.

This year, the young people in National Orchestra for All and our Modulo ensembles performed the spectacular ‘Allegro ma non troppo’ (first movement) from this symphony at arts venues nationwide, embracing Price’s groundbreaking legacy and keeping the work relevant today.

2. Errollyn Wallen CBE (b. 1958)

Royal Scottish National Orchestra’s Youth Chorus perform ‘Inherit the World’ by Errollyn Wallen.

Errollyn Wallen CBE is a Belize-born British composer whose work defies traditions. Not only is she a trailblazer in the classical world, being the first Black female composer to have her work performed at the BBC Proms (Concerto for Percussion, 1994), but she is also an accomplished singer-songwriter.

Wallen’s music spans a vast range of genres, from opera and chamber music to pop songs, blending classical traditions with influences from jazz, blues and contemporary styles. Earlier this year, Wallen also became the first Black woman to be proudly appointed as Master of the King’s Music.

In an interview with the Scottish Chamber Orchestra, she said: ‘Anyone from anywhere can be a composer. If, along the way, I have helped to dispel the myth that a composer is only white and male, that can only be a good thing.’

Plus, music runs in the family as Errollyn’s brother, Byron Wallen, is also a distinguished jazz trumpeter, who previously led one of our Modulo workshops to share his passion for brass instruments and rhythm with the young people participating in the programme!

3. William Grant Still (1895–1978)

William Grant Still’s ‘Afro-American Symphony’ performed by The Orchestra Now.

Often referred to as the “Dean of African American Composers” due to all the firsts he achieved, William Grant Still composed over 150 works, including symphonies, operas, ballets and chamber music.

Blending classical forms with blues and jazz, Still’s invigorating Afro-American Symphony (1930) was the first symphony penned by a Black composer to be performed by a major U.S. orchestra.

Read more: 2025-26 NOFA highlights from a NOFA member

4. Cassie Kinoshi (b.1993)

Ensemble Intercontemporain’s performance of ‘[UNTITLED]’ by Cassie Kinoshi.

Cassie Kinoshi is a Mercury Prize-nominated and Ivors Academy Award-winning composer, arranger and alto-saxophonist. Her incredible genre-blending and multidisciplinary work covers everything from contemporary classical and improvised music to TV, film and even visual art. 

As the leader of eleven-piece ensemble seed., she challenges conventions and creates music that celebrates identity, culture and storytelling.

In a recent interview with Southbank Centre, she spoke about her experience with the assumptions often made about her work: ‘In the European classical sphere, because I come from a background of playing the saxophone, playing Black American improvised music – which some would call jazz. People assume that everything I write in the European classical sphere is going to be like ‘jazzy’, but I actually also very much enjoy writing more abstract, more experimental, more floating kind of music as well.’

She also shared: ‘Artists of colour, but in particular Black artists, there’s kind of an assumption that all of your work will be related to trauma, but there are so many other layers to talking about your heritage and your relationship with the world as well.’

Kinoshi’s ‘the colour of all things constant’is a beautiful piece written for the BBC Ten Pieces, and co-commissioned by the BBC together with the ABRSM,Music for Youth and Royal Albert Hall. It was first played by the BBC Philharmonic Orchestra and included a powerful 40-strong choir of 16-18-year-olds.

5. Margaret Bonds (1913–1972)

‘The Montgomery Variations’ by Margaret Bonds performed by the National Youth Orchestra.

Margaret Bonds was a composer and pianist whose music was deeply rooted in African American spirituals and activism. Bonds was the first African American woman to perform with the Chicago Symphony Orchestra and was the featured pianist for the Woman’s Symphony Orchestra of Chicago’s performance of Florence Price’s Piano Concerto in D Minor.

She also collaborated with poet, Langston Hughes, and wrote powerful choral and orchestral works, advocating for social justice through music.

Her composition ‘The Montgomery Variations’ has previously been featured as one of the BBC’s Ten Pieces. Written in response to the Montgomery Bus Boycott, a huge protest brought about by the brave actions of Rosa Parks, the piece is an incredible example of Bonds dedication to social activism and support of Black women at a time of segregation.

6. George Walker (1922–2018)

George Walker’s ‘Lyric For Strings’ in concert at the 2017 BBC Proms.

Pianist and organist, George Walker, was the first Black composer to win the Pulitzer Prize for Music and in 1996, he was awarded for his dramatic work, Lilacs, written specially for soprano or tenor and orchestra.

Walker’s musical style blends classical, modernist and African American elements, and he is known for composing across multiple genres – from full-scale orchestral works to solo piano pieces, showcasing the breadth of his skill.

7. Joseph Bologne, Chevalier de Saint-Georges (1745–1799)

Sonya Headlam and Apollo’s Fire performing the Aria from ‘L'Amant Anonyme’ by Joseph Bologne, Chevalier de Saint-Georges.

Joseph Bologne, Chevalier de Saint-Georges, was a virtuoso violinist, conductor, composer and soldier of Afro-Caribbean and French descent.

Born in the French colony of Guadeloupe, Bologne had an extraordinary life. He was a prolific composer, writing symphonies, operas and chamber music, which led to him becoming one of the most celebrated musicians in 18th-century France.

Today, Bologne’s vast catalogue of music, which includes the sweet-sounding ‘Trois Sonates’ for keyboard and violin (1770), continues to inspire musicians and audiences worldwide. His life as a composer and swordsman is the stuff of legend – so much so, it was portrayed in the 2022 film, ‘Chevalier’, marking him as one of the earliest and most inspiring Black figures in classical music history.

8. Samuel Coleridge-Taylor (1875–1912)

Sheku, Isata and Braimah Kanneh-Mason’s arrangement of Samual Coleridge-Taylor’s ‘Deep River’.

A British composer of Sierra Leonean descent, Samuel Coleridge-Taylor was a major figure in early 20th-century music.

While perhaps best known for his stunning work, Hiawatha’s Wedding Feast (1898), which brought him international fame, Coleridge-Taylor also used his platform to advocate for racial equality and celebrate African heritage.

His compositions merge classical traditions with African rhythms and melodies – an approach we also like to take at Orchestras for All as we embrace different cultures and genres in our repertoire to reflect the diversity of the young musicians we support.

9. Shirley J. Thompson OBE (b. 1958)

Momentum: Concerto for Football and Orchestra by Shirley J. Thompson, recorded by the Royal Philharmonic Orchestra.

Shirley J. Thompson OBE is a British composer, conductor, violinist and academic of Jamaican descent, renowned for her orchestral works, film scores and operas as well as for being a cultural activist.

Thanks to her striking 21st century symphony, New Nation Rising (2002), celebrating London’s diverse histories through thematically linked movements, Thompson made history as the first woman in Europe to have composed and conducted a symphony within the last 40 years.

In 2002, the work was even performed live in the UK by The Royal Philharmonic Orchestra to mark the Queen’s Golden Jubilee!

Read more: A look back on the 2025-26 NOFA season

10. Ignatius Sancho (1729–1780)

‘Minuets’ by Ignatius Sancho, performed by the Afro-American Chamber Music Society Orchestra.

British composer, writer and abolitionist, Ignatius Sancho, was one of the first people of African descent known to have voted in a British election in 1774. Though born on a slave ship, Sancho eventually became a free man and prominent figure in London society. He composed a collection of music for dance, including minuets, cotillions and country dances.

Sancho’s compositions, including ‘Sweetest Bard’ and ‘Friendship Source of Joy’ (1769), offer a rare glimpse into the life of a Black composer in 18th-century Britain, making him a significant figure in both music history and the abolitionist movement.

11. Courtney Pine (b. 1964)

Courtney Pine (featuring Zoe Rahman) performing tracks from his album ‘Song (The Ballad Book)’ live in Nottingham.

Courtney Pine is one of the UK’s most celebrated jazz musicians and composers. Over the course of his career, Pine has revolutionised the British jazz scene, blending this musical genre with reggae, hip-hop, drum and bass as well as soul to create a distinctive and powerful sound.

His impressive work as a composer spans everything from big band jazz to smaller ensemble pieces, with albums such as Journey to the Urge Within having earned critical acclaim worldwide.

Pine’s dedication to pushing boundaries in music, while also staying true to his heritage, has made him a key figure in British music today.

At Orchestras for All, we continue to take inspiration from composers of all backgrounds when collaborating on new programmes of repertoire, empowering the young people we work with to take ownership over their learning, explore their creativity and embrace different cultures and genres within a welcoming and supportive setting.

Keen to increase access to music-making and provide new opportunities for young people to create music together? Please donate what you can to our programmes:

Supporting the next generation: why mental wellbeing is more important than ever

Helping the next generation to flourish…

At Orchestras for All (OFA), we recognise the importance of supporting young people’s mental health. That’s why our life-changing musical programmes aim to provide a safe and inclusive environment where young people can grow in confidence, develop resilience and express themselves creatively.

At all our charity’s events, we have a dedicated Head of Wellbeing and Wellbeing tutors to further our ongoing commitment and evolving approach to wellbeing. Through this approach, we aim to equip young people with the tools they need to navigate life’s challenges, enabling them to thrive and be the best version of themselves.

To mark World Mental Health Day this year, we’re taking a moment to share why supporting young people is so crucial in our ever-changing world and a few ways this can be encouraged.

Read more: 7 powerful benefits of inclusive music education >

Why is supporting young people’s mental health so important?

NOFA musicians and their family after a concert

In the UK, the number of young people experiencing mental health problems is at an all-time high. With one in five children and young people aged 8-25 struggling with mental health difficulties and particularly following the effects of the pandemic, it has never been more important for us to take action. 

Taking a proactive approach to mental health early on can prevent other challenges from arising later in life. At OFA, we strive to support young people’s wellbeing from the very moment we start working together, helping them to develop healthy coping mechanisms, build self-esteem, enhance their emotional intelligence and set themselves up for a brighter future.

Plus, providing the right support doesn’t just benefit young people – it can also help society to become healthier and more empathetic as a whole.

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

The impact of social media on mental health

It’s no secret that social media can be a fantastic tool for expressing ourselves creatively, connecting with likeminded groups of people and driving positive change.

This year, a Gov UK report found that 97% of young people aged 10-21 owned a smartphone and 96% of those people used social media. Whilst most young people shared that they have experienced the positive outcomes of being on these platforms, over half shared that it has also had a negative impact on their mental wellbeing.

A recent study by SCAMP at Imperial College London found that children and teenagers who spend more than three hours a day on social media are at a greater risk of experiencing anxiety, depression and issues with self-esteem.

A previous participant from our Modulo Programme told us: “The modern pressures we experience are definitely coming from social media. Although it can help a lot, there’s a bad side that comes with it.”

Taking place in February every year, Safer Internet Day is dedicated to highlighting how we can tackle the problem collectively, providing young people with safe methods of protecting themselves from online scams and sharing where they can seek support, should they need it.

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

How can you support young people’s mental health?

Two Modulo musicians during a rehearsal

Keen to help but don’t know where to start? Here are a few top tips to get you started:

1. Encourage open communication: Creating a safe space where young people feel comfortable expressing their feelings without judgment is vital. Active listening and validating their emotions helps to build trust and resilience.

2. Support creativity and self-expression: Engaging in creative activities, such as music, art and writing, provides young people with a constructive outlet for their emotions. At Orchestras for All, we see firsthand how music positively impacts young people, boosting their confidence and emotional wellbeing.

3. Promote a balanced lifestyle: Encouraging a balanced lifestyle that includes exercise, restful sleep and time away from screens supports overall mental and emotional health.

4. Know where to find help: There are lots of organisations that can provide support for young people experiencing mental health difficulties – you can find helpful resources on our wellbeing page.

At Orchestras for All, we remain committed to nurturing the wellbeing of everyone we work with, whether that’s the inspiring young people who participate in our programmes or the caring staff that help make them happen.

If we work together to create safe and supportive environments, we can empower young people to navigate life’s challenges with confidence and give them the chance to thrive.

Have you been affected by the topic of this blog or are you currently experiencing mental health struggles? Please head to our wellbeing page for information about where you can receive the right support:

2025-26 NOFA highlights from a NOFA member

A full orchestra rehearsal of the National Orchestra for All

Written by Khadijah - NOFA member, 2025-26

NOFA creates an inclusive community where passion always matters more than background, taking us on a journey from playing with like-minded musicians to inspiring the younger generation. As a member since 2023, watching our musical family grow during the 2025-2026 season has been an incredible experience. Now that the curtains have closed, these are the highlights that stole my heart.

NOFA feels like a second home because members travel from all over the UK to meet in Birmingham, turning a group of strangers into a close family. The instant warmth, when we reunite and seeing familiar faces again brings us together like we never left. One of my favourite things is to see how quickly new members become part of the group, transforming from nervous newcomers into lifelong friends within a matter of hours.

For me, community isn’t just about sitting in the same orchestra; it’s about supporting each other through every note. Despite coming from different backgrounds, we are all united by our shared love and passion for music. As we join together for our first rehearsal, this collective energy blends beautifully into a single, unified orchestral voice.

Music is the heart of NOFA, which is the powerful thread that weaves our diverse community together. Rehearsing side-by-side helps everyone settle into the rhythm of the season, breaking down barriers through shared creativity. One piece that quickly became a favourite was ‘This is Berk’. It brought a thrilling cinematic energy, filling the entire orchestra with an excitement and joy that transported us straight into the heroic world of How to Train Your Dragon. It was exciting to hear an old NOFA favourite ‘A Keelie Makolay’, being brought back after many years.

Personally, this piece not only allowed orchestra members to showcase their musical talent through overlapping solo entries, but it also deeply reinforced our sense of community through the integrated BSL, dancing, and singing. An unforgettable musical moment was being trusted to play the clarinet solo in Dvořák’s Symphony No. 9. Among all the wonderful pieces we explored this season, having this specific moment to lead the melody allowed me to proudly showcase my musical growth and connect deeply with the full orchestra.

While the music we create is unforgettable, our journey doesn’t stop at the final note. NOFA isn’t just a place where young people come to play music; it’s a community where tutors don’t just teach you notes, they build your confidence, celebrate your identity and give you a voice. One thing that separates NOFA from many other musical opportunities is the care it shows for its musicians beyond the residential. For me, one of the most important aspects of NOFA is the way they recognise our emotions and lives outside of performance, helping us step back, reflect and feel truly supported.

In the same way, having opportunities to develop practical talents outside of our instruments is incredibly meaningful because it gives us tools, we can use in the real world. The creative workshops further enhance this experience, allowing us to explore different forms of creativity like improvisation, music technology or conducting. Ultimately, the confidence and support we gained from these sessions built the perfect foundation for our youth voice.

Another important part of this season was seeing young people take on leadership roles, helping run morning warm-ups and presenting the final concert, showing how deeply youth representation is embedded into everything we do. The Recital Evening was a perfect example of this community spirit, offering a platform where members could freely showcase their individual talent and diverse musical styles.

Having these opportunities to lead and contribute taught us that our voices, ideas and creativity genuinely matter in a professional musical environment. Spring Morning was particularly meaningful because, as a young musician, witnessing Christian’s NOFA alum piece come to life through the beautiful integration of music and visual arts was an incredibly inspiring experience.

Being part of OFA’s 15th anniversary celebrations made this season particularly special because every single NOFA member got the chance to truly feature in ‘Crystal Kingdom’ by sharing our own ideas on what it should include. Sitting in the orchestra at the very end of the season, hearing and seeing all our hard work come to life was an incredible feeling.

The moment was made even better when Christian received a massive, well-deserved round of applause from the entire room. Performing the final concert for our families and friends allowed them to see exactly what we achieved together, creating a beautiful conclusion to the season that reminded me that young musicians are not just the future of organisations like OFA; we are the heart of it right now.

Looking back on this season, I think it was special because it allowed us to grow not just as individual musicians, but as an entire creative family. It reminded me exactly why I keep coming back, combining amazing music, leadership opportunities and an unforgettable celebration of our shared community. As another season comes to an end, I’m excited to see what the next season brings.

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About NOFA

NOFA is our inclusive, non-auditioned national youth orchestra. Each season it brings together 100 young people from all four corners of the UK. NOFA members come from all backgrounds, at any stage in their musical journey, playing any instrument they choose. 

We want to make sure that cost isn’t a barrier to participating, so everything is covered when a young person joins NOFA, including their food, travel, accommodation and tuition.  

Recruitment for our next NOFA season is now open!

A look back on the 2025-26 NOFA season

Written by Jenny Forbes - NOFA Programme Manager

In July 2026, we celebrated the end of another successful National Orchestra for All (NOFA) season with a four-day residential filled with music, friendships and two incredible concerts for local families and primary schools. As we enter a quieter period while we recruit the next cohort (visit National Orchestra for All — Orchestras for All to apply!), it’s the perfect time to reflect on all that our NOFA members and team achieved during the 2025 – 2026 season.

Our first residential of 2025 saw us welcoming 42 new young people to NOFA, as well as 58 returning members. They travelled from all over the country to join us – from Aberdeenshire to London, Belfast to Gateshead, and everywhere in between! Of course there were some nerves about spending four days away from home, meeting new people and learning new music, but my highlight from spring was seeing how quickly everyone settled into the course and how many new friendships were formed in those first few days together. 

We started the season’s repertoire strong with A Keelie Makolay, a traditional Ghanian playground song and favourite of past NOFA members; Ritmos Ciganos, a Latin-American piece by Carlos Garcia that we learned by ear; and Spring Morning, an amazing new composition for NOFA written by one of our alums, Christian. We also launched a whopping twelve creative workshops for NOFA members that continued throughout the season, including music technology, visual art, conducting, choir, improvisation and folk music. 

In Summer 2025, we added to more pieces to our repertoire, both chosen by the cohort. The first was the epic ‘This is Berk’ from the DreamWorks film How to Train Your Dragon, and the second was the dramatic fourth movement from Dvorak’s 9th Symphony. 

A personal highlight for me during Summer 2025 was the orchestral and wellbeing team reflection meetings. It was so special to hear each tutor’s ‘magic moment’ from the course, and it was a chance to celebrate the many ways in which they’d supported the NOFA members to develop. I’d like to thank our incredible tutor team for always creating an environment where so many magic moments can happen! 

In Autumn 2025, we hosted three regional events in London, Sheffield and Glasgow. We collaborated with Kyle McInnis from Kinetika Bloco – a London-based youth music organisation that specialise in carnival performance. We combined Ritmos Ciganos with Eu Vou La Para Luanda (a favourite piece of Kinetika Bloco’s), practiced learning by ear, created our own music, and explored movement in our performance. My highlight from the regionals was the creative workshops – it was so special to see the NOFA members’ musical ideas showcased in the final performances. 

In Spring 2026, we added our final piece to the repertoire: ‘Crystal Kingdom’, a commission by Emily Lim to celebrate OFA’s 15th (Crystal) anniversary. This was a particularly exciting piece because Emily used ideas from the young people to create it, and it was named by them too. 

We also started offering life skills sessions during Spring which was a highlight for me. I loved watching the NOFA members explore the sessions that they were interested in and learn from the incredible skills and experiences of our tutor team in new ways. 

The season culminated in our Summer 2026 residential. The four days were spent celebrating all we had achieved, and we got to share the celebrations with hundreds of audience members at our family and primary school concerts. My favourite moment of the season has to be these concerts! The young people led the way, hosting pop-up performances in the café, facilitating drop-in workshops, presenting the concerts beautifully, and creating a visual art film to accompany Spring Morning. I particularly enjoyed seeing Christian, our alum composer, receive his well-deserved round of applause for the premier of Spring Morning!

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About NOFA

NOFA is our inclusive, non-auditioned national youth orchestra. Each season it brings together 100 young people from all four corners of the UK. NOFA members come from all backgrounds, at any stage in their musical journey, playing any instrument they choose. 

We want to make sure that cost isn’t a barrier to participating, so everything is covered when a young person joins NOFA, including their food, travel, accommodation and tuition.  

Recruitment for our next NOFA season is now open!

Introducing Ingles & Hayday

Tim Ingles and Paul Hayday joined Sotheby’s in the 1990s and ran their Musical Instrument department for 15 years. In 2012, they left to establish Ingles & Hayday, a specialist musical instrument auction house and dealership where fine and rare stringed instruments are offered for sale by auction and private sale. They have sold over 50 instruments by Stradivari and Guarneri del Gesù, as well as numerous notable instrument collections, including those of Yehudi Menuhin and Norman Rosenberg.

With a team which grew up surrounded by music, Ingles & Hayday takes pride in the work it does to support musicians, both amateur and professional. The recently founded I&H Artists programme supports young professional musicians with access to a top class instrument. In addition, Ingles & Hayday funds music programmes every year with various charities across the UK and abroad, helping children access music, music education, and stringed instruments. These charities have included Creative Futures, Luthiers sans Frontieres, Armonico Consort and, most recently, Orchestras for All.

Ingles & Hayday’s work with Orchestras for All has been particularly special as most of their team plays, or has experience playing in, an orchestra. They understand the communities which orchestras build and the love of music they can foster in young people. They hope to continue their relationship with Orchestras for All and to support their work for years to come.

Celebrating the life of Asteryth Sloane

A photo of Asteryth Sloane - they posing for the camera, with their hair in a shoulder length bob and are wearing a pinafore dress with a bright sunflower pattern, over a black long-sleeve top.

We are deeply saddened by the passing of Asteryth Sloane – a brilliant composer and musician, who worked with Orchestras for All as a Wellbeing Tutor on our NOFA residentials between 2022-2024.  

As an accomplished composer, Asteryth also joined our arranging team, creating braille scores for the NOFA during the 2022-2024 season that enabled us to support members with sight loss to join the orchestra.  

Their passing is a huge loss to music and to the world, and we send our sincere condolences to Asteryth’s family and friends. 

Listen to Asteryth's latest album, Unravellings:

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Remembering Asteryth 

Sasha, Head of Wellbeing and Inclusion: 

“Asteryth had a huge positive impact on many of the NOFA members who needed a quiet space to regulate and have some calm quiet support. They brought a very therapeutic approach to the breathing space and highlighted to us again how individual differences bring and create more diverse inclusive spaces.  

 Asteryth was an integral part of the wellbeing team and worked beautifully with many of the team members. They were loyal, challenged situations and very aware of other's needs.  

 I am very sad that we won't be able to continue to work with Asteryth and learn about their insights into the world. They had also become a therapist specialising in working with people who are neurodivergent. Asteryth had a massive positive impact individually, at OFA and the world with their care, understanding and dedication to making the world a more inclusive supportive place to be.  

Asteryth will be missed in many ways, I am grateful for everything I learned from them and fortunate enough to have known them for a few years.” 

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Jenny, NOFA Programme Manager: 

“Asteryth was a kind and gentle person who was able to build meaningful relationships with people from all walks of life. They were an integral part of our wellbeing team at residentials, facilitating a calm and welcoming space where NOFA members felt able to open up to them.  

Asteryth has been fondly remembered by other wellbeing tutors for having impactful conversations, teaching braille, and wearing a variety of beautiful dungarees! Asteryth will be missed by many.” 

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Nick Thorne, Orchestras for All Executive Director: 

“Asteryth often hosted our breathing space during NOFA residentials and created a brilliant calming atmosphere that enabled NOFA members to open up to them about challenges they were facing, often while creating brilliant arts and crafts. A huge loss to music and to the creative world.” 

Lisbon Marathon: Orchestras for All Trustee runs in support of NOFA

Here at Orchestras for All, we appreciate all the support we receive from our incredible community – especially when they take the opportunity to go one ‘step’ further.  

This is the case with one of our Trustees, Dominic Parker – who is running the Lisbon Marathon in October later this year. With training for this challenge now well underway, we thought it would be a good idea to take the opportunity for Dominic to introduce himself in his own words: 

Please can you introduce yourself and your relationship to Orchestras for All? 

Hi, I’m Dominic - I’ve been a Trustee of Orchestras for All for around four years now, I think it is a brilliant charity. In my day job, I am the Director of the BBC Scottish Symphony Orchestra. 

What do you play, and what do you love most about your instrument? 

I mainly play piano but have also played the flute and I have sung a lot. I love the piano because it is so versatile and can suit any mood - it’s therapeutic, challenging, satisfying, infuriating….  

What are you doing? Why? 

I have slightly crazily decided to run a marathon for Orchestras for All to try to raise some money – so in October I am going to Lisbon to run 26 miles. I’m aiming to raise £5,000 to fully fund one young person’s place in the National Orchestra for All (NOFA) - an incredible youth orchestra.  

A full orchestra rehearsal at a NOFA residential

If you were introducing Orchestras for All to someone new, what would you tell them? 

I’d say it is a great charity, now in its 15th year, that facilitates the joy of group music-making for young people who most likely would not otherwise have that opportunity – most importantly there are no fees and no auditions - and I’ve seen the change it has made to participants lives, through music, though community, through new opportunities and horizons. 

What is your favourite thing about Orchestras for All? 

For me, as a Trustee, it is that we have young people as fellow Trustees, and a youth board - this brings a vibrancy and insight which makes us all focus and think more clearly about what we are trying to do and how we do it.  

What have you learned from your time with Orchestras for All? 

That everyone should have the opportunity to make music – for simple joy, but also for the impact that experience can have on your aspirations and trajectory, whether that is musical or not. And that we are a long way from everyone in our society having that opportunity, so we have to keep trying.  

The guitar section of the National Orchestra for All (NOFA) - our inclusive, non-auditioned national youth orchestra

What is your favourite part of the charity? 

I love to hear testimonials from people who have participated in Orchestras for All’s programmes, as they are invariably incredibly passionate about the benefits they have taken away and the fun they have had.  

If you had to describe Orchestras for All in one word, what would it be and why? 

Smiles. Because that is the predominant reaction I see when I ask participants if they’ve enjoyed their times with Orchestras for All. 

Young people relax at a NOFA residential.

We’ll be keeping up with Dom in the run up to his marathon – and if you’d like to donate, you can do so:

Celebrating 15 years of Orchestras for All at the State Rooms, Speaker’s House, House of Commons

To celebrate 15 years of Orchestras for All, we hosted a special evening at the State Rooms, Speaker’s House at the House of Commons in June by kind permission of Mr Speaker, The Rt Hon Sir Lindsay Hoyle MP. Joined by friends, partners, donors and funders who have supported our journey, we celebrated the life-changing power of inclusive music education and its impact on young people across the UK! 

The evening saw performances from Fir Vale Academy, Sheffield’s Lead School for music and a part of our Modulo programme, as well as performances from National Orchestra for All (NOFA) alums Deronne White and Ambassadors Bella and Jesse.  

Since 2011, Orchestras for All has had a huge impact on thousands of young people. In that time we have worked with: 

• 1,200 musicians through our NOFA 5,000 musicians through our Modulo programme 

• 2,000 teachers through our Music Leadership Training programme 

• 77 young people and alums to help us run the charity, from Co-Chairing our board of Trustees, to our Youth Board, to paid freelance and management team roles.  

Co-Chair of Trustees, Beth, shared: “You see, OFA caters to young individuals from all walks of life. There is no barrier we will not break down. We believe that access to music making is a right every young individual should have.” 

“One of my favourite OFA slogans is the youth boards motto ‘nothing about us, without us’, I think that truly does portray the importance of empowering our young people.” 

This motto rang true on the night too, with speeches shared from three alums, Beth, Sophie and Jesse. 

Ambassador Sophie shared: “If it wasn't for OFAs ethos, I would have never had these opportunities and I would be a very different person. OFA has inspired me to keep making music during tough times and has made me into the musician and person I am today. I am so glad I get to be here to celebrate 15 years of this incredible organisation.” 

Ambassador Jesse closed his speech with a word of thanks: “I know personally that I would not be the same person without this organisation. So today, I just want to say thank you — to the staff, tutors, supporters, volunteers, and everyone who makes NOFA possible. Thank you for believing in young musicians. Thank you for creating opportunities. And thank you for continuing to prove how powerful music can be when everyone is given the chance to take part.” 

This summer, our celebrations continue with the finale of our Modulo and NOFA seasons, including our inclusive family concert on Sunday 5 July 

You can book tickets to see NOFA in action here: 

Thank you to everyone who has supported us over the last 15 years, including every young person, school, teacher, music educator. As well as our team, Trustees, Youth Board, freelancers, funders, donors, partners and friends – we couldn’t do it without you! 

Get involved! Orchestras for All invites young people in the UK to join its next season of inclusive programmes

“OFA is the place where confidence is built, ambitions are formed, and careers are kickstarted.” 

Orchestras for All (OFA) is delighted to announce that it is now recruiting young people, state schools and local community groups for two of its flagship programmes: National Orchestra for All (NOFA) and the Modulo Programme.  

Whether a young person is an experienced player or just getting started, OFA welcomes all young people to join our vibrant community and experience our life-changing opportunities.

NOFA cellist, Jess, said: “NOFA is a good space to join if you are nervous about going to an orchestra because it is just one big happy family! You don’t have to feel like you have to be the best – you can just play along and laugh if you make mistakes.”  

One Modulo teacher also said: “It has given my students real life experience of playing in a big ensemble and the skills that involves. Today, in a choir rehearsal, a pupil involved in Modulo mentioned leaving silence at the end and feeling the ‘magic in the air’ – something she learnt from conductor Rocco. It seems the lessons they learned have stayed with them.”  

Read more: Orchestras for All wins RPS Impact Award at the Royal Philharmonic Society Awards> 

What are the NOFA and Modulo programmes?

National Orchestra for All:

NOFA is our inclusive, non-auditioned national youth orchestra. Each season it brings together 100 young people from all four corners of the UK. NOFA members come from all backgrounds, at any stage in their musical journey, playing any instrument they choose. 

The orchestra performs all types of music, from popular songs to classical works, film music to jazz, video game soundtracks to dance anthems  – with pieces coming from around the world. Members also have the opportunity to create their own pieces with professional composers -it doesn’t get much cooler than that!  

 Plus, we want to make sure that cost isn’t a barrier to participating, so everything is covered when a young person joins NOFA, including their food, travel, accommodation and tuition.  

“The teachers really understand you and take care of you!”

— NOFA member

The Modulo Programme:

We support teachers and music leaders in state schools, local community groups and music hubs and services to set up and run their own ‘Modulo ensemble’ which is accessible to every young person.  

They receive all the music, training and resources they need to create an inclusive, sustainable and high-quality musical experience for young people, ensuring they have fun every step of the way. 

“Thanks to Modulo our students and staff are thriving.”

— Modulo teacher

Throughout the year, Modulos from different parts of the UK come together to play as multiple large-scale orchestras at our ‘Modulo Meets’, alongside our expert team of professional musicians - with each culminating in a celebratory showcase of group music-making.  

Read more: Orchestras for All wins award for Equity, Diversity and Inclusion at the ABO Impact Awards> 

Reflecting on our most recent season 

 With its wide range of workshops, social activities, youth leadership initiatives and colourful concerts, NOFA’s 2025-26 season has been a truly memorable experience for everyone.

Members have had the opportunity to rehearse and perform at the Royal Birmingham Conservatoire , all whilst being supported by an incredible team of Ambassadors, Orchestral and Wellbeing Tutors. 

 Chosen in collaboration with the young people we work with, NOFA’s current repertoire includes an eclectic mix of works.

For NOFA’s season finale in July 2026, members will be performing ‘Spring Morning’, written by NOFA alum, Chrsitian Dews, ‘This is Berk’, taken from John Powell’s original soundtrack for film, How to Train Your Dragon, a new arrangement of Carlos Garcia’s Ritmos Ciganos, created in collaboration with NOFA members and Kinetika Bloco, Dvorak’s Symphony No. 9 in E Minor, Mvt. 4 and traditional Ghanian folk tune, ‘A Keelie Makolay’. They will also be premiering an exciting 15th birthday commission, written by Emily Lim. 

You can book tickets to see NOFA in action now:

“I’ve been exposed to a lot of music that I never would have listened to. It has actually put me on a path that I never would have expected.”

— NOFA member

Meanwhile, 235 young musicians from 24 schools and community groups joined us for six dynamic Modulo Meets at leading arts venues in Sheffield, Gateshead and Birmingham. Performing Queen’s iconic anthem, ‘We Are the Champions’, as part of their concert programme, participants had audiences singing and dancing all over the country. 

This season, we have been delighted to see several new Modulo ensembles established. We also held many in-person workshops, created visual scores, or music maps, to make our resources more inclusive, continued to utilise our digital hub for Modulo leaders to access their resources more easily and worked with three Special Education Needs and Disability (SEND) schools.  

Why should you join our programmes? 

By signing up for National Orchestra for All and Modulo, young people and music leaders will have the opportunity to: 

• Be part of a national movement: Connect with like-minded individuals from across the UK and be part of something bigger that shapes the future of music. 

• Make music accessible: Help us break down barriers to group music-making, making it possible for all young people to get involved, regardless of their background. 

• Perform in inspiring venues: Experience the thrill of performing in some of the UK’s most iconic spaces. 

• Learn from the best: Receive expert training and mentorship from professional musicians and educators, with the safety and wellbeing of young people at the heart of all our activities.

How to apply:

This is an exciting opportunity to be part of something truly extraordinary. Take a moment to sign up - we’d love to have you as part of the Orchestras for All community! 

Learn more about our application process and application deadlines below:

Huge thanks to our funders, partners, donors and supporters for making these life-changing programmes possible.