1 day Evie Primary 0.5 days, Firth Primary 0.5 days 5. Cello & Double Bass teacher: 5 days Kirkwall Grammar School 3 days, Stromness Academy 1 day, St Andrews Primary 0.5 days, St Margaret’s Hope Primary 0.5 days 6. Guitar teacher: 5 days Kirkwall Grammar School 3 days, Stromness Academy 1 day, St Andrews Primary 0.5 days, St Margaret’s Hope Primary 0.5 days 7. Piano teacher: 5 days Kirkwall Grammar School 3 days, Stromness Academy 1 day, St Andrews Primary 0.5 days, St Margaret’s Hope Primary 0.5

1. Music provision for young people in
in Orkney
A Report by Gemma McGregor commissioned by
Orkney Youth Music Forum. December 2011

2. 2
Table of Contents
Introduction ......................................................................................................4
Gemma McGregor ...........................................................................................4
Executive Summary .........................................................................................4
Terminology .....................................................................................................5
1. Strategic Background...................................................................................6
Youth Music Initiative ...................................................................................6
2. Local Background ........................................................................................7
3. Aims of the Orkney Youth Music Forum ......................................................7
4. Aims of the report.........................................................................................8
5. Curricular Music Provision ...........................................................................8
Orkney Schools..........................................................................................10
Peripatetic Instrumental Instructors ............................................................11
Case Study – Tuition by Video Conferencing.............................................12
School Ensembles......................................................................................12
Case Study – Collaborative Musical Performance via Internet...................13
Music for Children with Additional Support Needs......................................14
6. ABRSM Music Exams ................................................................................15
7. Community Music Provision.......................................................................15
Orkney Traditional Music Project, courtesy of Orkney Media Group..........16
Private Instructors ......................................................................................16
Case Study of Private Instructor – Rosemary Smyth .................................16
Music for the Under Fives ..........................................................................17
Orkney Traditional Music Project................................................................17
OTMP is managed by a committee consisting of: ......................................17
Case Study – Good Practice regarding Child Protection Procedure ..........18
Youth Café .................................................................................................18
The Wrigley Sisters’ School of Music .........................................................18

3. 3
Community Music Groups ..........................................................................19
Pipe Bands.................................................................................................20
Community Classical Music Groups...........................................................20
Community Singing Groups........................................................................21
Music Festivals...........................................................................................21
Case Study: Young Orkney Fiddler ............................................................23
8. Gaps in Provision.......................................................................................24
Popular Music.............................................................................................24
Jazz and blues ...........................................................................................24
Contemporary music and improvisation .....................................................24
Music for children and young people with additional support needs...........25
Music in Further Education.........................................................................25
Vocal and large ensemble opportunities ....................................................26
9. Challenges.................................................................................................26
10. Case Study: Music on a Small Island.......................................................27
11. Suggestions .............................................................................................28
12. Conclusion ...............................................................................................29
13. References...............................................................................................30

4. 4
Introduction
The Orkney Youth Music Forum, (OYMF), established in 2009, received
Development Funding from Creative Scotland in 2010 to provide a report on
current musical provision for under 25s in Orkney, and to produce a research
document for consultation with all key providers and funders in Orkney.
Potentially this report could assist with the distribution of future funding to the
groups or activities that would be most beneficial to all young people and
thereby support new initiatives and inclusive practice.
Gemma McGregor
Gemma McGregor works as freelance Coordinator for Orkney Youth Music
Forum, one of the 18 music forums that form a network funded by Creative
Scotland. Gemma also works as a freelance composer and musician and is
the representative for the Associated Board of the Royal Schools of Music in
Orkney. Gemma is a member of several of Orkney’s music groups including
Orkney Camerata, Orkney Strathspey and Reel Society and is on the Orkney
Folk Festival Committee.
Executive Summary
This report lists the opportunities for music making and learning for under 25s
in Orkney in all genres and identifies gaps in current provision.

5. 5
Terminology
Formal or Statutory Sector: music making or learning activities, happening
within mainstream education times and settings related to the curriculum,
provided by Orkney Islands Council Education Service. These are funded
through OIC core funding.
Instrumental Instructor/Peripatetic teacher: teacher of one or a group of
instruments employed by OIC to teach an instrument individually or in a small
group, outside of class.
Itinerant class music teachers: music teachers who deliver a weekly music
class that may include theory, history, group singing or playing, and who, in
Orkney, usually have a timetable of different schools to visit.
Community Music: music making or learning that takes place outside of
school or local authority provision within groups that, in Orkney, are almost
entirely self-funded and non-profit making. Occasionally groups receive one-
off grants from funding bodies or businesses, such as Lottery Funding,
Awards for All or Talisman Energy.
Youth Music Initiative: a funding stream from Creative Scotland for the
purpose of supporting music making programmes particularly for young
people that would not normally engage in music activities.
YMI Formula Fund: Fund for supervised music-making activities that happen
mostly within school time, as a complement and addition to core music
provision provided by the local authority. Some of these activities have been
funded on an annual basis.
YMI Informal Sector, large and small grants: Fund for supervised music-
making activities that happen mostly outside mainstream education times and
settings. Local groups and organisations and local authorities, with the
exception of schools, instrumental music services or YMI formula fund budget
holders are eligible to be the lead applicant in applications. Strong active
partnerships with informal sector organisations must be demonstrated in order
to be considered for investment.

6. 6
1. Strategic Background
The National Youth Music Strategy published by the Scottish Arts Council,
(now Creative Scotland), in November 2006 stated that all children and young
people in Scotland should:
 experience music making
 have their musical preferences respected and supported
 have access to high quality musical resources, both physical and human
 continue to develop their music making to whatever level they aspire to.
SAC suggested that this would be achieved through the following strategic
aims –
 widening participation
 sustaining participation
 organising participation
 promoting participation.1
Our inheritance, five years on from that directive, is that music making is more
readily available for young people in Orkney.
Youth Music Initiative
Following an Audit of Youth Music Provision in February 2003, the Scottish
Arts Council worked with local authorities and music organisations to develop
a strategy called the Youth Music Initiative 2 (YMI). The aims of YMI were to -
 improve the availability of musical instruments;
 widen the spread of instruments and musical styles for children;
 maximise the role of the voluntary and informal education sector.
These goals were to be delivered locally through two funding streams –
Formula funding and Informal funding.
The Youth Music Initiative is currently funded at £10 million per annum, with
£8 million being routed through Creative Scotland to local authorities into
schools to meet the P6 target, which is to ensure that all children receive the
opportunity of one year’s music tuition by the time that they reach primary six.
On 19th October, 2011, the Scottish Government’s culture secretary, Fiona
Hyslop, formally announced the funding allocation for 2012-13. A further £8
million is being invested in the Scottish Government’s Youth Music Initiative.

7. 7
The YMI will continue to support more than 300 projects, nationally, covering
all musical genres, age groups and teaching methods from 2012 – 2013.
2. Local Background
In June 2009, Orkney Islands Council received funding from Creative
Scotland to set up the Orkney Youth Music Forum, which was managed by
OIC and coordinated by Gemma McGregor.
Creative Scotland planned, “to create music forums and begin the process of
having a unified approach to music provision which reflects local needs and
demand.” 3
The Orkney Youth Music Forum is a group of musicians, music teachers,
group leaders and young people who are involved with music for under 25s in
Orkney. It is run by a committee, chaired by Glenys Hughes, and holds four
public meetings annually. It has a website,4which describes the music scene
in Orkney, has a Service Directory listing all local music groups and festivals
and posts news bulletins regarding funding, local awards, etc.
The support and development of youth music forums is a crucial part of
Creative Scotland’s strategy to ‘encourage and create a strengthened and
unified infrastructure of music providers on a local, regional and national
level’.5
OYMF coordinator, Gemma McGregor, is based in Orkney’s main town,
Kirkwall. Orkney is situated about twenty miles off the north coast of Scotland.
There are seventy Orkney Islands, seventeen of them inhabited. Eighty
percent of the population live on mainland Orkney and twenty percent on the
outlying islands. Orkney has a population of approximately 20,000 people.
3. Aims of the Orkney Youth Music Forum
The aims of OYMF are to improve awareness of and to coordinate youth
music activities in the statutory sector (provided by local authority), and
informal sector (supervised music-making activities that happen outside
mainstream education times and settings). The OYMF aims to facilitate
collaboration, to identify gaps in provision, to improve access to music, and to
assist joint learning and the introduction of new ideas for training and music
making.

8. 8
4. Aims of the report
This report proposes to list current musical provision for under 25s in Orkney
and identify gaps in provision. It is hoped that the report will encourage local
music providers to adopt a unified approach to music provision that is
responsive to local need.
The report is based on the supposition that raising awareness of musical
provision, funding and collaborative opportunities can increase access to
music making for under 25s in Orkney.
The rationale for this hypothesis is that there are many examples of good
practice within music groups in Orkney communities, and, if this information
were to be shared through a coordinating agency, a wide range of groups
could learn and provision could increase. Gaps in provision could be identified
and access to provision could grow in response to wider awareness of
opportunities.
5. Curricular Music Provision
Orkney Islands Council Education Service delivers music education through
schools under the directives of the Curriculum for Excellence, the age 3-18
curriculum in Scotland, published by the Scottish Government, overseen by
Education Scotland, and introduced in 2010. Ultimately, the aim of the
Curriculum for Excellence is to make Scotland’s education system fit for the
modern world and improve young people’s achievements, attainment and life
chances through enabling them to become successful learners, confident
individuals, responsible citizens and effective contributors.
Orkney has a school population of approximately 3,000. The local authority
has an Instrumental Music Service that is managed by the Principal Teacher
of Expressive Arts from the OIC Education Services, who is a member of
HITS (Heads of Instrumental Teaching Scotland). There are nine full and part-
time instrumental instructors who teach in twenty-two schools. Instruments
can be borrowed for one year (larger instruments for longer) by school pupils
who take instrumental lessons. Students miss a different subject class each
week in order to attend a 25 minute lesson with their instrumental teacher
which is generally given as part of a small group. The Instrumental Service
has a stock of instruments worth £120,000.
Towards the end of P3, P4 or P5, depending on the availability of spaces and
type of instrument, parents will receive a letter asking if their child is interested
in learning an instrument. Pupils who are keen will be tested on their musical
potential and the instructor will discuss them with their class teacher, music

9. 9
teacher and head teacher. Pupils will then be offered a place, if one is
available, on a trial basis. Generally, pupils can begin fiddle tuition at P4 and
brass and woodwind at P6, though wind instructors do sometimes start them
off earlier. If places are available, pupils can begin tuition later in their school
career.
Instructors are given in-service training relevant to their work – for example,
the instructors have worked alongside conductor, James Lowe, to improve
their conducting skills. Full-time instructors have been provided with laptop
computers and Sibelius music notation software. The number of disciplines
taught in any school is relative to the size of the school roll. The instrumental
service provides tuition to around 500 students and this represents
approximately 24% of the eligible school population.
The Instrumental Service supports ensembles in both secondary schools and
five of the junior highs and primaries. The service provides two annual
instrumental courses and young musicians are invited to participate – those
who learn at school and those who learn in the community. There are courses
for strings, brass, percussion and woodwind - seniors meet for four days in
November (about 100 students) and juniors for four days in May (nearly 200
students). The courses are delivered by seven of the music staff and conclude
with public concerts at the mainland secondary schools in November and the
county leisure centre in May. At present there are no charges for lessons or
instrument hire and the service costs £235,000 to run annually. A public
consultation regarding proposed charges took place in September, the results
of which were collated by Orkney Islands Council in November 2011. Full
council did not ratify the recommendation of the Education and Leisure
Committee to introduce charges and the matter has been deferred until
February 2012.
Three Orkney Junior High Schools, located on the islands of Westray, Sanday
and Stronsay, provide education from nursery up to secondary school fourth
year and the North Walls Junior High, located on the island of Hoy, provides
education from nursery up to primary seven. There are 17 Primary Schools
and a Halls of Residence, located in Kirkwall, to permit island pupils to attend
Kirkwall Grammar School. The Council encourages wide community use of
the school estate and recognizes school buildings as a valuable community
asset. Of the Council’s 17 Primary schools, 15 are designated as community
schools and there is some community use of all schools. There are 22
schools in Orkney (and one mothballed at present) and they all receive class
music tuition from one of the team of visiting itinerant music teachers who
have complicated timetables and travel arrangements in order to reach them
all. The itinerant class music teachers give a broad background to musical
training, history and appreciation and do include some group playing of

10. 10
instruments such as keyboards, tin whistles, recorders and percussion in their
programme. Itinerant music teachers also provide opportunities for creative
work by providing ensemble opportunities in line with the creating and
designing requirement of the Curriculum for Excellence. However, some isles
schools only receive a visit from an instrumental instructor 8 times per
academic year.
Orkney Schools
On mainland Orkney there are two senior secondary schools -
Kirkwall Grammar School (853 students)
Stromness Academy (407 students)
There are Junior High Schools on four of the islands –
Westray Junior High School (up to Senior 4) (59 students)
Sanday Junior High School (up to Senior 4) (56 students)
Stronsay Junior High School (up to Senior 4) (53 students)
North Walls Junior High (up to Primary 7) (19 students)
There are eleven mainland primary schools –
Burray (11 students)
Dounby (167 students)
Evie (54 students)
Firth (80 students)
Glaitness (204 students)
Saint Margaret’s Hope (76 students)
Orphir (48 students)
Papdale (461 students)
St Andrews (179 students)
Stenness (33 students)
Stromness (173 students)
There are six isles primary schools receiving the following tuition -
Shapinsay Primary School (25 students) - 2 hour visit weekly -
woodwind
Rousay Primary School (22 students) 16 half day visits annually -
violin (YMI)
Eday Primary School (8 students - 8 visits annually – violin (YMI)
4 visits annually - woodwind (YMI)
Papa Westray Primary School (9 students) - 8 visits annually - violin
4 visits annually - woodwind (YMI)
North Ronaldsay Primary School (5 students) - 8 visits annually - violin
(YMI)

11. 11
Flotta Primary School (No students at present)
Peripatetic Instrumental Instructors
1. Brass teacher: 5 days
Papdale Primary 1.5 days, Kirkwall Grammar School 1.5 days, Dounby
Primary 0.5 days, Stromness Primary 0.5 days, Stromness Academy 1
day
2. Woodwind teacher : 5 days
Papdale Primary 1 day, Kirkwall Grammar School 1.5 days, Glaitness
Primary 0.5 days, Dounby Primary 0.33 days, Stromness Primary 0.66
days, Stromness Academy 1 day
3. Violin & Viola teacher: 5 days
Kirkwall Grammar School 3 days, Orphir Primary 0.5 days, St Andrews
Primary 0.5 days, Burray Primary 0.33 days, St Margaret’s Hope
Primary 0.66 days
4. Violin & Viola teacher: 4 days
Stromness Academy 2 days + 2hours, North Walls Junior High 0.5
days, Stromness Primary 0.66 days, Dounby Primary 0.33 days,
Sanday Junior High 28 days per year
5. Violin & Viola teacher : 2.5 days and YMI 24 days per year
Kirkwall Grammar School 1.5 days, Glaitness Primary 0.5 days,
YMI funded: Westray Junior High 26 days per year, Eday Primary 8
days per year, Papay Primary 8 days per year, North Ronaldsay
Primary 8 days per year
6. Cello teacher: 2 days and YMI 8 days per year
Papdale Primary 0.33 days, Stromness Primary 0.5 days, Stromness
Academy 1 hour, St Margaret’s Hope Primary 1 hour, Kirkwall
Grammar School 0.66 days,
YMI funded: Sanday 4 days per year , Stronsay 4 days per year
7. Cello & fiddle teacher– 2.45 hours per week– Stronsay Junior
High
8. Violin teacher: 2.5 days YMI 8 days/year
Papdale Primary 1.5 days, Firth Primary 0.5 days
YMI funded: Stenness Primary 0.5 days, Rousay Primary 16 x 0.5 days
per year
9. Woodwind teacher: 1 day and YMI 8 days per year
Kirkwall Grammar School 1 day,
YMI funded: Papay Primary 8 days per year, /Eday Primary 8 days per
year
10. Woodwind teacher: 1.33 day
St Andrews Primary 1 day, Shapinsay Primary 2 hours weekly

12. 12
11. Accordion teacher - 1 hour per week YMI funded
Westray Junior High
12. Guitar teacher: 30 days annually YMI funded
Kirkwall Grammar School, Stromness Academy, Firth Primary and Evie
Primary.
The costs for the instrumental tuition listed above are met by Youth Music
Initiative formula funding where indicated.
Case Study – Tuition by Video Conferencing
The local authority peripatetic brass teacher taught a young tenor horn player
from the island of Hoy for the years of S1 – S2. He is the only OIC brass
teacher in the Orkney instrumental service and does not visit Hoy as a part of
his timetable. He endeavoured to teach the student through using video
conferencing supported by occasional lessons on mainland. The teacher did
try working with the different video conferencing equipment available in
Orkney, but was unable to get a good enough connection with quality sound
and no breaks in order to make the lessons worthwhile. He reported that if the
internet connection was improved and the equipment was of better quality,
then it is possible that supporting isles students between monthly lessons by
means of video conferencing would be both beneficial to the students and
cost effective.
Five years ago, two of Orkney’s music teachers received specialist percussion
training in order to address the need for students to learn percussion as there
had been no regular training previously. As a follow-up to a training session
with percussion expert, Pamela Dow, the two teachers and their students
received some ongoing advice via video conferencing. This kind of follow-up
was found to be beneficial for both staff and students and a good option when
the cost of travel makes another visit by the trainer to Orkney out of the
question.
School Ensembles
1. Stromness Academy String Group
2. Stromness Academy Choir
3. Stromness Academy Samba Group
4. Kirkwall Grammar School Orchestra
5. Kirkwall Grammar School Senior Choir
6. Kirkwall Grammar School Junior Girls Choir
7. Kirkwall Grammar School Wind Band
8. Kirkwall Grammar School Big Band
9. Kirkwall Grammar School Junior Traditional Fiddle Group
10. Kirkwall Grammar School, Hadhirgaan (Traditional Music Group)

13. 13
11. St Andrews Fiddle Club
12. St Andrews School Band
13. St Andrews Guitar Club
14. St Andrews Choir
15. St Andrews P6 Music Group
16. St Andrews P7 Music Group
17. St Andrews P5 Chimes Group
18. St Andrews P5 Whistle Group
19. Papdale Orchestra
20. Papdale Steel Bands
21. Papdale Brass Band
22. Papdale Senior Choir
23. Papdale Junior Choir
24. Papdale Percussion Group/Samba Band
25. Glaitness Choir
26. Glaitness Whistle Group
27. Stromness Primary Choir
28. Sanday Fiddle Club
Case Study – Collaborative Musical Performance via Internet
The local authority instrumental instructor worked with Shapinsay Community
School to help them to collaborate with a school in Norway via the Internet.
The itinerant music teacher taught children from the whole school their songs
and script and helped with the performance.
Shapinsay Community School made pioneering use of technology to webcast
a joint performance of their 2006 Christmas production with Grinder school in
Norway. The two schools worked together on a script for the play, splitting the
number of scenes to be performed between them. The idea was to mix the
live scenes at each school alternating with a projected webcast, using
Marratech video conferencing technology. Work on the play began a year
prior to the final performance, and regular video conferencing software such
as iChat and AIM was used extensively in discussing and planning the event.
Marratech videoconferencing software was part of the technology used by the
Scottish GLOW schools education network, and provided the high quality
necessary for music and video to be streamed live over the internet. The
small island of Shapinsay had recently been enabled for broadband, and a
request was put out for local residents to refrain from using it for the duration
of the morning performance. BT upgraded the Internet connection for the
project. Technical support was provided by OIC’s IT department, and they set
up all the microphones, cameras and projection equipment. Assistance was
received from Learning and Teaching Scotland, who helped with the custom
settings required to tweak Marratech for glitch-free music broadcast.

14. 14
For the performance, each school had a stage set up, together with a
projector and sound and lighting rig. Shapinsay and Grinder took it in turns to
perform their allocated scenes live, with the alternate webcast performances
projected on the stage backdrop. The performances were a triumph, with
outstanding audio and video quality, due in part to the professional equipment
used. There was a real sense of achievement and satisfaction at the project’s
success, and it proved how cultural collaboration can thrive,
regardless of distance. The project acted as a test bed for Marratech
software, and the results were fed back to Learning and Teaching Scotland 5
to improve the GLOW network.6
Music for Children with Additional Support Needs
All pupils, including those with additional support needs, receive class music
lessons for at least fifty minutes per week. Pupils with additional support
needs have class lessons with a music teacher and some have sessions on
the Skoog, which is being piloted in Orkney using YMI Formula Funding. A
group using the Skoog (a touch sensitive cube that can trigger programmed
recorded music or sound) performed as part of the Glaitness primary school
concert this year, together with a choir and a group on tin whistles. Some
secondary level students attend Kirkwall Grammar School and receive class
lessons, which involve guided listening, group singing and playing guitars and
percussion. An inclusive project called “Include Me’’, funded by YMI, is
currently under way at Stromness Academy.
Music teachers and instructors work, when appropriate, with specialised
music technology including touch-sensitive switches, ultrasonic movement
detectors and computer software. The music service has for the past year
been working with Drake Music Scotland to introduce the Figure Notes
system of music notation, initially at Glaitness School, with the intention of
extending this to other Orkney schools.
The drama specialist (also the Principal Teacher of Expressive Arts) has
worked collaboratively with music teachers and learning support assistants to
deliver several creative projects and pupils with additional support needs have
been involved in several music projects for previous St Magnus Festivals.
Drake Music Scotland are going to work with music teachers and instrumental
instructors in order to include a group of pupils with additional support needs
in the May 2012 schools instrumental concert. There are singing projects
planned for summer of 2012 which will involve inclusive groups of sixty isles
students and two hundred and eighty mainland students.
All staff recognise the importance of the role of music in the emotional and
social development of all pupils, and that participation in musical activities can
be especially valuable to those with additional support needs.

15. 15
6. ABRSM Music Exams
The Associated Board of the Royal Schools of Music have been sending one
of their examiners to Orkney to examine instrumentalists and singers since
the 1950s and Stromness Town Hall was established as an examination
centre in 1976.There are three visits per year to a mainland centre where
candidates are assessed on the playing of three pieces, scales, sight-reading
and aural tests. There is an unmarked (comments only) preparatory test and
eight grades that are marked out of 150 with a pass mark of 100. The ABRSM
will send examiners for special visits to schools or islands if three hours worth
of exams are required. Between 30 and 60 candidates present for exams at
the Orkney centre each session. The ABRSM also provide written theory
exams Grades 1-8 three times a year. The ABRSM qualifications are
respected worldwide and are necessary for auditions for further education
institutions and national orchestras and choirs. Teachers from both the
statutory and the private sector enter their students for the ABRSM exams
and candidates can be entered by their school, teacher, or even by
themselves. 7
7. Community Music Provision

16. 16
Orkney Traditional Music Project, courtesy of Orkney Media Group.
Private Instructors
There is a large variety of private music teachers available in Orkney ranging
from the very casual or inexperienced to those with third level music
education and professional backgrounds. Fees for lessons range from £5 to
£18 per half hour lesson. At the present time there is no regulation of private
music teaching. This means that anyone can offer music lessons at any price.
There is no stipulation for a private music teacher to have gone through child
protection checks and it is the responsibility of parents to ensure that a
teacher is suitable. The law on private teaching is going to change and it is
probable that a Protecting Vulnerable Groups (PVG) certificate will become
necessary for those wishing to teach under 18s on a private basis.
In Orkney there are the following practising private music teachers:
 Thirteen piano teachers
 Six violin teachers
 One all woodwind teacher
 Three flute teachers
 Four accordion teachers
 Two cello teachers
 One organ teacher
 Two trumpet teachers
 Two guitar and mandolin teachers
 One bass guitar teacher
 One drumming teacher
 Four voice teachers
Case Study of Private Instructor – Rosemary Smyth
Rosemary Smyth had a career of class music teaching and has taught music
at her home in Kirkwall for twenty years. She teaches piano, music theory and
musicianship as necessary. Rosemary enters students for the music exams
run by the Associated Board of the Royal Schools of Music in Orkney and
also helps out with playing the accompaniments for other teachers’ students.
Not all of her students sit music exams and depending on suitability,
Rosemary will teach a more general musicianship course as appropriate.
Rosemary holds end of year concerts for her students to perform to one
another. Rosemary embraces many musical activities in the community
including playing the St Magnus Cathedral organ and has been assistant
organist at the Cathedral for the last ten years.

17. 17
Music for the Under Fives
The Orkney library supervises “Bookbug” weekly meetings for toddlers and
parents at Stromness and Dounby, and twice-weekly meetings at Orkney
Library and Lambaness community centre. The purpose of the meetings is
primarily to promote reading but group leaders do teach rhymes and songs at
every session. Bookbug Coordinator is Patsy Smith who works at the Orkney
library and archive.
Orkney Traditional Music Project
The Orkney Traditional Music Project in its present form was started in 1998
to provide tuition in accordions. Shortly thereafter, fiddle classes were added
and OTMP currently provides five fiddle classes and four accordion
classes on Saturday mornings in Kirkwall Town Hall. OTMP is presently
teaching 135 pupils who are charged £2 for each hour-long lesson. There are
three terms of ten weeks of classes per year. OTMP resident tutors are
Elizabeth Duncan (Musical Director), Diane Kelday, and Susan Webb (fiddles)
and Nicky Palmer and Ellen Grieve (accordions). Visiting tutors are brought in
on a regular basis to augment normal tuition.
Concerts are held during the year and groups of pupils play at many local
functions; Tall Ships, Royal Visits, St Magnus Festival, Orkney Folk Festival
and County Show. Lunchtime concerts are held in the Cathedral every
Saturday during May and June.
Weekly classes are held at Kirkwall Community Centre. In August each year
there is a four-day Summer School, which is held at Orkney College, East
Road, Kirkwall. Visiting tutors in 2011 were Ian Lowthian and Ishbel Borland
(accordion) and Eunice Henderson and Kristan Harvey (fiddle).
OTMP was voted Community Project of the Year in the BBC Alba Scottish
Traditional Music Award 2010. OTMP is generally self-funded but does
appreciate occasional support from sponsors including, the Scottish Fiddle
Orchestra, Talisman Energy, Flotta Oil Terminal and Northlink Ferries.
OTMP is managed by a committee consisting of:
 Chairperson - Freda Burgher
 Vice Chairperson - John Rendall
 Treasurer - Dave Gunn
 Musical Director - Elizabeth Duncan
 Ordinary members - Isabel Alexander, Winkie Eunson, Jim Marwick

18. 18
Case Study – Good Practice regarding Child Protection
Procedure
When young people wish to join Orkney Traditional Music Project, two forms
are required. One is a class enrolment form with basic details of contact
information and the class to be attended. This form is held by the Treasurer
and Lead Signatory under lock and key. The Treasurer uses information from
the forms, such as e-mail addresses, and sends out newsletters and notices
under blind copy.
The second form, for all children under sixteen years of age, asks for details
of contact information to be used in emergencies, information about health
risks such as allergies, permission to be included in group photographs and
requires a signature giving consent for the child to be under the care of the
OTMP tutors while at a class. These Parental Consent forms are held by the
Musical Director during class times. When a child discontinues classes, all
information relating to that child is destroyed.
Each tutor has an enhanced disclosure certificate issued by the Central
Registration Body for Scotland confirming that the person named has been
checked and has no criminal record or allegations of past misconduct.
Youth Café
The Youth Café is situated in Kirkwall Community Centre. It has a café and a
gymnasium and offers rehearsal space for young bands during opening
hours. One of the youth workers is planning to hold drumming workshops and
clinics in the near future. The Youth Café promotes performance by young
bands in the gymnasium from time to time and assists with promotion, sound
and supervision. The Youth Café hosts the Tuesday Club once a week, which
provides an afternoon of activities for young people with Additional Support
Needs. The Tuesday club members have enjoyed karaoke sessions at the
Youth Café and live music sessions are planned for next year.
The Wrigley Sisters’ School of Music
The Wrigley Sisters’ School of Music is situated at The Reel, 6, Broad Street,
Kirkwall and was established in 2004. Private freelance instructors rent rooms
to teach individual private lessons. The school also offers weekly group
classes for fiddle (adult beginners and adult improvers) and guitar with
classes of approximately 8 students attending. The school has eleven
freelance tutors that offer lessons in voice, piano, violin, guitar, mandolin,
banjo, woodwind, drumming, theory, and coaching sessions. Rehearsal space
is available for rental by community groups. The Strathspey & Reel Society
and the Accordion & Fiddle Club use the Reel for practices. The Reel is also
used as a live music venue and has a thriving café-bar. Saturday night music

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sessions are open to over eighteens and are led by local traditional group,
Hullion.
Community Music Groups
Community music groups do not provide lessons as such, but do support
learning through weekly meetings when musicians play with the group, learn
new tunes, and prepare to perform at civic events, festivals, harvest homes,
parish dances, etc. The groups marked with * have only members who are
under twenty-five years of age.
(Two members of the Stronsay Silver Darlings)
1. Orkney Strathspey and Reel Society (formed 1948), 20 – 30 members,
Seniors Leader – Ian Kirkness, Juniors Leader – Eric Linklater

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2. West Mainland Strathspey and Reel Society, 30-40 members, Seniors
Leader – Gina Dickinson, Juniors Leader – Jean Leonard
3. Harray Traditional Music Group, approx. 8 members, Leader – Donny
Grieve
4. Accordion & Fiddle Club (formed 1977), approx. 12 members,
Secretary – Bert Baikie
5. Lyrie, 7 members *, Leader – Fiona Driver
6. Shoramere,10 members * Leader – Diane Kelday
7. Stronsay Silver Darlings, 18 members * Leaders – Gaynor Smith,
Michael Smith & Janice Maxwell
8. Rousay Music Group, Leader – Itha Flaws
9. The Rousay Dinxwhackie Boom Music Club, Leader – Christine
Courtney
10. Shapinsay Music Group (formed in 1950s), approx. 6 members,
Leaders- Ian Eunson and Paul Hollinrake
11. Westray Music Group, Leader – Betty Hume
12. Sanday Music Group, Leader – Kate Howe
Pipe Bands
1. Kirkwall City Pipe Band (formed 1919), Pipe Major - Raymond Peace,
approx. 40 members
2. Stromness Pipe Band, (formed 1980), Pipe Major – Mark Wemyss,
approx. 20 members
3. Rendall Pipe Band, Pipe Major – Kenny Peace approx. 15 members
There are fifty or so learners of pipes and drums in Orkney who are under
eighteen years of age. Piping and drumming exams are not held regularly in
Orkney, but the bands do have an association with the National Piping Centre
and they run occasional weekend workshops that include exams. This tends
to be every few years and is dependent on funding being available to bring
the workshop leaders to Orkney.
Community Classical Music Groups
1. Orkney Orchestra (formed 1985), approx. 40 members, Secretary –
Sandy Dennison, Leader – Iain Tait
2. Orkney Camerata (formed 1995), approx 15 members, Leader –
Elizabeth Sullivan, Chair – Glenys Hughes
3. Kirkwall Town Band (originally in the 19th century but reformed in
1973), 24 members (14 are under 18), Leader – Elaine Geddes
4. The Salvation Army Brass Band (formed 1861), approx. 10 members,
Leader - Geoff Thompson

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Community Singing Groups
1. Mayfield Singers, (formed 1988) 22 members, Leaders – Denise Stout
& Neil Price
2. Kirkwall Cathedral Choir (30 members), Leader – Iain Campbell
3. Saint Magnus Festival Chorus, (formed 1980) 100+ members, Leader
– Glenys Hughes
4. Saint Olaf Choir (approx. 12 members), Leader – Ben Whitworth
5. The Holm Choir (approx.15 members), Leader – Ruth Harvey
6. Orkney Singers (formed 2005) approx. 20 members), Leaders - Emily
Turton, Sarah Jane Gibbon & Lynn Campbell
7. The Linties (approx 10 members), Leader – Kath Hague
8. The Stromabank Pub Choir – (approx 15 members), Leader – Fran
Gray
9. The N Boys, (5 members), Leader – George Rendall
10. The Men of Orkney (formed 1961), 10 members (2 under 18s), Leader
– Geoff Thomson
11. The Bea Choir, Leader – Bill Crichton
12. Saint Margaret’s Hope Singing Group, Leader – Denise Denvir
13. The Pop Tarts – (approx. 14 members), Leader – Jenny Keldie
14. Kirkwall Amateur Operatic Society – (approx. 25 members), Leader –
Lesley Howard
15. Salvation Army Songsters (formed 1861 approx. 10 members), Leader
– Andrew Stanger
16. Westray Singing Group, Leader – Liz Drever
17. Singing Group for People with Memory Problems, Leader – Rachel
Palmer
Music Festivals
1. St Magnus International Festival was founded in 1977 by Orkney’s
distinguished resident composer Sir Peter Maxwell Davies, and is governed
by a board of directors. The Festival employs a part-time Artistic Director, a
full-time Festival Manager, a part-time Festival Administrator and two part-
time, temporary, seasonal Box Office & Administration Assistants. The week
long Festival always takes place during the time of the summer solstice
towards the end of June, and while focusing mainly on classical music
encompasses performances of all genres of music and other arts. It
encourages schools’ groups to benefit through projects purposely designed
for their active participation as well as visits to schools and workshops by
visiting professional orchestras, ensembles and performers. For example, the
Side by Side project in 2010 was a six month project that enabled young
orchestral musicians to perform alongside a professional orchestra and to
share desks at the Festival performance. The Festival always includes

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projects in music and/or drama and other arts to encourage the maximum
degree of community participation by adults and young people resident in
Orkney. Many children’s opera and music theatre pieces by Maxwell Davies
have been given their world premieres at the Festival by local children.
2.Orkney Folk Festival was established in 1982 and is run by a voluntary
committee of a dozen members led by Artistic Director, Bob Gibbon and
Chair, Elaine Grieve. The annual festival takes place for four days at the end
of May and includes an educational project in partnership with schools and a
youth concert involving young performers. Visiting artists deliver workshops
on their instruments at schools and sometimes on the Saturday of the festival.
For example, visiting group, The New Rope String Band, gave workshops at
schools and performed a children’s concert on the Saturday afternoon of the
festival in 2009. For the last two years, the youth concert and associated
workshops have been led by the Orkney Heritage Fiddle Project, which aims
to research and raise awareness of Orkney traditional music. Local fiddler,
Douglas Montgomery, has led workshops on fiddle music by Orcadians at
schools and research on Orkney music has been shared with community
groups and local teachers.
The Orkney Folk Festival received the award for Event of the Year at the 2011
BBC Alba Scottish Traditional Music Awards.
3.Orkney Blues Weekend was established in 2006 and is held in September
annually over three days, and is run by a committee of volunteers. Whilst not
having an educational programme as such, it does encourage young bands to
perform and assists with their networking with experienced artists.
4.Orkney Science Festival was established in 1991 and is held annually
during the first week of September. It includes educational musical events and
promotes traditional Orcadian ceilidhs with live Orcadian traditional music. It
also includes a concert by organist, George McPhee, a concert by local choir,
The Mayfield Singers, and sometimes a lecture on a music related theme.
5.Orkney Arts Society is a charitable organisation dedicated to promoting
the arts in Orkney. OAS hosts an eclectic programme of events every season
that include drama, music, literature and visual arts. The annual program
usually includes three concerts of chamber music or jazz by visiting artists
and a performance by Scottish Opera. For many years, the Arts Society has
supported members, Jean Leonard and Catherine Parkinson, to organise the
Orkney Young Musicians Festival. The festival did not run in 2011, but OAS
approached Orkney Islands Council to propose that the local authority
Instrumental Service take responsibility for it in future and external funding
has been obtained for a four-day showcase event to be held in Spring 2012.

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Case Study: Young Orkney Fiddler
Orkney fiddle player, Kristan Harvey, age twenty-two, grew up on a farm in
Birsay and attended secondary school in Stromness. She learned violin at
school with instructor, Rhona Casey, but also attended the Orkney Traditional
Music Project on Saturdays and went to fiddle classes that were taught by
local teacher, Jean Leonard. Being a member of the Orkney Traditional Music
Project meant that Kristan learned traditional music as a part of a large group,
attended Summer schools and had regular performing opportunities. She
played classical music at school and during the annual instrumental courses
run by OIC and was invited to join Orkney Camerata to play classical chamber
music when she was sixteen. Kristan sat Associated Board of the Royal
Schools of Music exams during her school years and obtained the highest
level, Grade 8, before leaving school.
In her late teens, Kristan had lessons from local fiddler, Douglas Montgomery,
whose playing on recordings by The Chair and Saltfishforty, had influenced
her for some time. At the age of seventeen, Kristan was faced with the
dilemma of whether to pursue further study in classical or traditional violin
playing. After a round of auditions, Kristan accepted a place at the Royal
Scottish Academy of Music and Drama to study for a Bachelor of Music
degree with classical violin as her principal study. While in Glasgow, studying
at RSAMD for four years, Kristan continued to play traditional fiddle with her
friends and to attend music sessions. She entered the BBC Radio Scotland
Young Scottish Traditional Music Competition in 2011 and was crowned
Young Scottish Traditional Musician of the Year.

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8. Gaps in provision
Popular Music
Most music making in Orkney is of the Scottish traditional or classical music
genres. However, many young people are more interested in playing and
listening to contemporary styles of music – rock, pop, rap, techno, Indie,
garage, funk, etc. There is very limited availability of lessons, coaching,
rehearsal space or performance opportunities for these young musicians in
Orkney. Local rock bands almost always perform in bars that exclude under
18s. The Kirkwall Youth Café does host occasional rock music evenings that
give bands a chance to perform but this venue usually appeals only to
younger players and audiences. Stromness Academy offer studio space to
student bands for rehearsal, and both mainland secondary schools hold an
annual band competition which means that young rock bands who have been
coached by the music department staff have a chance to perform in front of a
live audience at school.
Although many young rock musicians do not want a weekly instrumental
lesson, rock music weekends and workshops would be welcome.
Music Technology is a fairly new subject to Orkney but Stromness Academy
is offering a Higher course this year and Kirkwall Grammar School has two
sixth year students who are taking Music Technology Higher.
Jazz and blues
Jazz and Blues learning opportunities in Orkney are limited. There is a Big
Band at Kirkwall Grammar School and two of the local authority instructors
(brass and woodwind) support instrumentalists who want to play jazz. The
ABRSM jazz syllabus and grade exams have not been offered as an option by
instructors in Orkney as yet. There used to be a jazz summer school for three
days every August that was led by local jazz singer, Maureen Cursiter, but
this has not run for the last three summers.
Contemporary music and improvisation
There are many opportunities for young players of orchestral instruments to
play classical music both through the Education Department and in
community groups. However, there is almost no opportunity for young players
to experience playing or performing contemporary classical music,
experimental music or improvisation. This is partly because these kinds of
music do not attract a significant audience in Orkney. Venues can be
expensive to hire and promoters need to be sure of significant ticket sales that
will cover costs. The Orkney Youth Music Forum hosted the Sound Inventors
course for young composers in Kirkwall Grammar School in 2010, ending with

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a private performance. In 2011, the St Magnus Festival worked with the same
group, helping them to write music to accompany some local amateur short
films. The second course with the collaborative side to it seemed to be a good
way to attract interest and increase audience numbers.
Music for children and young people with additional support
needs
It would be desirable for individual instrumental tuition to be available for
larger numbers of pupils, including those with additional support needs.
Inclusion of such pupils in mainstream music projects has, in the past, been
limited, although several schools currently include pupils with additional
support needs in their choirs. Pupils with additional support needs have not so
far been included in the bi-annual instrumental courses. However, plans have
been made to enable participation in the orchestral course which will run in
May 2012 and in the concert that will end the course. It is recognized that
such involvement necessitates additional support staff.
Young people ages 18 to 25 who have additional support needs attend
Orkney College, the Keelylang Centre or the Saint Colms Day Centre. These
centres provide services for people aged 18 to 65 who have mild to moderate
learning difficulties. Whilst music is not a permanent part of the programme,
local musicians and school groups are brought in to perform occasionally.
Group singing is fairly accessible and comparatively low cost as there is no
equipment necessary and a singing project can usually be started with a choir
leader assisted by existing staff.
Music in Further Education
Further education in music is not available in Orkney, even though a high
proportion of school students study Higher and Advanced Higher music.
(Kirkwall Grammar School has 30 Higher and 12-15 Advanced Higher
students this year.) Orkney College offers a degree in Cultural Studies as part
of the University of the Highlands and Islands, but no music courses. Visiting
students have indicated that they would like to learn more about Scottish
music and Orcadian music at Orkney College. A number of school leavers
from Orkney go on to study music annually but have given mixed reports
about the quality of the courses that they attend. These range from performing
courses at conservatoires, to music degrees at universities, to music
technology courses at colleges. A number of students report dissatisfaction
with the courses or leave without completing them. It would appear that more
information about the courses and the institutions that offer them would
benefit potential students.

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Vocal and large ensemble opportunities
There is no county choir or annual course similar to the instrumental course
for singers. There are school choirs, and many primary choirs meet weekly,
but others only practise for Christmas concerts and are not a year round
activity. The main opportunity for singing in a large choir in Orkney is the
Festival Chorus that meets to learn a large work, Bach’s Christmas Oratorio
for example, twice a year – once for the St Magnus Festival in June and once
for the winter concert in December. The chorus (of about 120) has only ever
had a handful of young people join. This may be because the average age of
the chorus is forty plus, or it may be that the music is perceived as too difficult.
Two young singers from Orkney have auditioned and gained places in the
National Youth Choir of Scotland during the last five years. NYCS arranged
for an Orkney candidate to record a DVD of herself singing audition pieces to
send to them rather than travelling to Edinburgh to sing live.
The costs associated with joining the national choir can be prohibitive, as they
include fees for the courses and a trip to Scotland two or three times (possibly
once for audition and attendance at two courses annually) with associated
travel and accommodation costs for the applicant and accompanying family.
It is a similar situation for young people who would like to audition for National
Children’s Orchestra of Scotland, (NCOS), and National Youth Orchestra of
Scotland, (NYOS), except that these organisations do conduct auditions in
Orkney every November so young musicians do not have to travel south for
those but, if successful, have to pay large fees and travel costs for two
courses or tours annually. In the past, grants have been available from the
local authority, but these have been very small and would only have met a
very small percentage of costs for these musicians.
9. Challenges
What are the challenges that musicians, music teachers and planners face in
this location?
1. Travel difficulties including time and costs. A return flight from
Kirkwall to Edinburgh can cost between £200 and £300.
2. Rural isolation. Some islands have only one flight by a 7 seater plane a
day. Most islands have a daily ferry service but ferries can be cancelled
during winter months.
3. Adverse weather. Leading to travel difficulties, poor attendance or
cancellations in winter. Causeways connecting the south isles on the
mainland are closed during stormy and snowy weather.

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4. Accessibility. It can be problematic for community groups and music
projects for those living in the country, on isles or with special needs to
access events. Bus services are not frequent to outlying areas and
ferry timetables do not always fit in with attending events, especially in
the evening.
5. Few players. The small numbers of players of some instruments leads
to certain players being overburdened with rehearsals and
performances of groups, musicals, shows, etc.
6. Isles lessons. Visits to isles by instructors for instrumental tuition are
not frequent enough. Most isles only receive eight visits per year from
their instrumental instructor. This amounts to a lesson every six weeks
spread throughout the school year. Many teachers feel that it is
impossible to teach a musical instrument this way, and that infrequent
contact results in less practice by the students and interest wanes
between visits.
7. Overnight accommodation. It can be difficult and costly to source
accommodation for isles students to stay overnight in order to attend
mainland projects.
8. Specialist instruments. In a small community it is inevitable that
instrumental instructors have to teach multiple instruments and that for
some more unusual instruments, tuition is not available in either the
statutory or private sector.
9. Short-term cover. Small numbers of music staff mean that there is
little availability for obtaining cover for sickness or long term leave. It
can be difficult to find enough staff to help run large events.
10. Case Study: Music on a Small Island
Papa Westray (known locally as Papay), is an island of six square miles with
approximately seventy inhabitants. It has a primary school with nursery,
current roll of eight ranging from pre-school to P7 and a Head Teacher,
support staff including relief teacher, early years assistant, classroom support
and clerical support. The school receives monthly visits (and currently more
frequent) from an itinerant music teacher, who provides between 3 and 4.5
hours of music related activities, depending on plane times. Four of the
students currently receive individual violin lessons from a visiting instrumental
instructor, who visits 4 and sometimes more times a year, with continuity
maintained by both the music teacher and Kate Evans, Head Teacher, in
order to create as near weekly provision as can be managed. Visits by the
violin instructor are funded by YMI to visit Papay, along with the woodwind

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instructor, who visits similarly between 4-8 times per year, to offer recorder
lessons to six of the students and guitar to two of the students as well as
ensemble work (often singing). For the past year the two students playing
guitar have also had practices with a local player although due to staffing
changes they are currently hoping to find a new volunteer to support their
playing. Two years ago, the school children took their musical instruments to
North Ronaldsay to join with the children there for a Burns celebration.
The Papay Community Association is the main organiser of events on the isle,
and organises dances and music workshops. Traditional dances are enjoyed
by the whole age range of residents, creating a way for children to identify
with local dance and music from an early age. Children practise dancing in
school and have even sent instructions and a short video to a school in the
USA to teach the children there a traditional dance. Dances are often
accompanied by the Westray Band or the Papay band. The Papay Band
consists of Margaret Rendall on accordion and Paul Griffith on guitar and
banjo accompanied by young people on drums and guitars. Paul is presently
teaching a group of young ukelele players tunes for upcoming events.
Also living on Papay are visual artists, Ivanov and Chan, who promote events
that feature local and visiting artists of all disciplines with a particular
emphasis on creating new works that include the community. For example,
the piece for accordion, fiddle and sound titled Papay People by composer,
James Heseltine.
A small community like Papay values all of its visitors and makes the
maximum use of their skills during their visits to the island. If Papay invites a
band over for a dance the Community Association will take the opportunity to
organise music and dance workshops for their young people during the
musicians’ stay on the island. Events such as the St Boniface Carol Service,
the Muckle Supper and Burns Night provide further opportunities for local
residents, including all ages, and visitors to join together – in fact whenever
there is a gap in the social round, the Papay Community Association springs
into action to bring people together to enjoy playing traditional music and
dancing. Papay folk are good at spotting any opportunity to harness the
talents of visitors and to include visitors in their celebration of island culture.
11. Suggestions
These suggestions represent a summary of comments that have been made
by instructors, private music teachers, youth workers and young musicians. A
young people’s focus group met with Gemma McGregor at Kirkwall Grammar
School to discuss music provision in Orkney and their comments are
represented below.

29. 29
An annually reviewed and monitored online registration form for private
Orkney music teachers.
Early vocational advice for those interested in careers in music. Young
musicians with thoughts of pursuing a career and/or further music
education to be given the opportunity to talk with professional musicians
with experience of their field. An opportunity for young musicians who have
left Orkney to study could be made for them to come back and speak about
their experience to careers staff and other students.
An annual talent show for all young musicians of all genres.
Good quality video conferencing for isles schools and peripatetic teachers.
Private venues to be encouraged to host youth events and possibly delay
closing times for weekend events.
OIC could offer ongoing in-service training to private teachers, maybe for a
small fee. This would encourage networking possibilities for both sectors
and lower training costs for OIC.
Continuing Professional Development for music teachers to learn how to
operate and maintain PA, recording equipment, etc.
OIC to create a bank of sound equipment for young musicians to borrow
and receive training on. If this bank were publicised, people could donate
equipment that they no longer need as they upgrade.
Music for disengaged youth – an alcohol-free music club on Friday and
Saturday nights.
Small isles could be helped by OIC and/or Voluntary Action Orkney to
access funding to help organise and fund travel to mainland events that
they would otherwise be excluded from.
A comparison with music provision in Western Isles and Shetland in both
formal and informal sectors could be beneficial to all island groups in order
to note what works for them in an island setting.
Collaborations between music groups, between art forms and between
festivals could be encouraged with a view to sharing skills and resources
and building self-sustaining projects that are not reliant on external funding.
12. Conclusion
This report shows that there is much to celebrate with regard to the music
provision for young people in Orkney. Learning, listening and performing
opportunities are very diverse and this small community holds music
education for youth in high regard. However, there are issues around

30. 30
provision and accessibility that could be looked at by planners in both
educational and entertainment settings. The strongest response from young
people regarding provision was that they would like more opportunities for
learning, performing and listening to popular music. It would seem that music
provision could widen in Orkney through raising awareness of:
 the opportunities already available;
 funding streams appropriate for local young musicians and groups;
 resources that could be shared.
13. References
1
National Youth Music Strategy (Scottish Arts Council, 2006)
http://www.scottisharts.org.uk/1/information
2
Youth Music Initiative – The Beginning ( Scottish Arts Council, 2007)
http://www.scottisharts.org.uk/1/artsinscotland/music/youthmusicinitiative/theb
eginning.aspx
3
www.ymf.org.uk/ABOUT
YMFS.ORG.UK
4
www.orkneycommunities.co.uk/YOUTHMUSICFORUM
5
Learning and Teaching Scotland has now been incorporated into Education Scotland (since
July 2011), which is ‘the Scottish Government’s national development and improvement
agency for education’. www.ltscotland.org.uk/aboutlts/index.asp
6
‘GLOW is the world’s first national online community for education. It’s
basically an education intranet.’
www.ltscotland.org.uk/usingglowandict/index.asp / ABOUTCURRENTLY
VIEWING YMFS.ORG.UK / ABOUT
7
More information about ABRSM is available at www.abrsm.org

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