Kicking off Manchester Jazz Festival in style, ‘Chet’s Bakers’ take to the HOME stage on First Street on Friday 16 May. Led by Steve Berry, head of Chetham’s Jazz Department, a handpicked group of students will light up the stage with a dynamic set, showcasing their instrumental prowess and ensemble synergy.

Stoller Hall plays host to two standout performances as part of the festival. A cornerstone of the Manchester jazz scene and a Chetham’s tutor, Richard Iles leads the fifteen-piece Miniature Brass Emporium on Wednesday 21 May. Returning to his celebrated work New Futures — the first original piece commissioned by Manchester Jazz Festival 25 years ago — this performance promises to be nostalgic and forward-thinking in equal measure.

We’re also thrilled to welcome the phenomenal quartet Small Print on Saturday 24 May. Featuring Norma Winstone, Nikki Iles, Mike Walker and Steve Watts, this powerhouse ensemble defies genre boundaries with emotionally rich storytelling. Their bold artistry explores themes ranging from first love and obsession to murder, delivering a set that’s as lyrical as it is arresting.

Two of Chetham’s trailblazing alumni, Emma Rawicz and Gwilym Simcock, bring their dynamic new duo to Band on the Wall on Sunday 25 May. Hot off the heels of their album Big Visit, their joyful and spontaneous musical chemistry is a testament to the roots they cultivated at Chetham’s — and proof that jazz’s future is in great hands.

Looking ahead to summer, we’re delighted to launch our brand-new Jazz and Improvisation course at Chetham’s Summer School this August. Led by acclaimed violinist and educator Dominic Ingham, the course invites young musicians to explore small-group improvisation, jam sessions, and musical creativity in a supportive and inspiring setting. Open to rhythm section players and front-line soloists with a passion for jazz and improvisation, the course requires no audition — and can even count toward your Duke of Edinburgh Award.

It’s a thrilling time for jazz in Manchester — and we’re proud to be right at the heart of the beat.

In reality, parents can help far more than they think just by being there for their children to offer advice and support. We consulted our Lead Nurse and Head of Sixth Form to compile some top tips for navigating this challenging and rewarding time. 

My child is revising – how can I help? 

Recall past successes

Self-confidence fluctuates during exam time. Where revision is concerned, there will naturally be good days and less successful ones. So, if your child plays an instrument – or if they’re an athlete, an entrepreneur, or even a gaming master –  remind them of the dedication they showed to progress, and encourage them to apply the same determination to their academic studies. This is a great way to help them put things in perspective and gain some confidence.  

You can also share stories with your children. Tell them about a time when you weren’t sure you could tackle something, but by sticking at it and being positive, you managed to succeed.

Praise effort, over results 

Many students are perfectionists, and this is a trait often seen in children with musical ability or another strong interest. Whilst exceptional academic results are exciting, students need to know that their parents are proud of them for doing their best, as well as for getting great results. It’s actually very healthy for them to know they won’t always be the very best at something, or get top marks – especially when they’ve been celebrated for a special talent from an early age. It’s crucial that they develop resilience and understand that by applying their best efforts, they keep control of their own futures. 

Trust your children 

You know your own children best, so you’ll have a good idea of how diligently they work and how much encouragement they need. Generally though, showing your children that you trust them to get on with revision can provide more of a boost than transmitting your own anxiety to them. However nervous you may feel on their behalf, a gentle nudge and offer of support is more motivating than a panicked appeal! 

I’m a student and I’m feeling anxious – what really works? 

Musicians: take five with your instrument! 

If you’re at a specialist music school, don’t be worried about taking a short break from intense music practice during GCSE or A level exam time. Believe it or not, the exams will be over very soon!  

Play pieces for enjoyment, relish the time to experiment, and remember that creativity boosts your confidence, memory and attention span, all of which will benefit you in your academic work. Rather than challenging yourself too much musically, see your instrument as an enjoyable release from stress, rather than piling hours of rehearsal on top of your revision schedule.  

Look after yourself 

It’s advice you hear over and over again in articles about exam success – make sure you relax, take time out, eat well and go to bed early. Health and wellbeing are the foundations on which you build – so, if you’re neglecting yourself, it’s almost certainly going to impact your studies. So, set yourself a switch-off time each evening and stick to it, establish a routine, and make time for some exercise, even if it’s just a ten minute walk each day. Try not to turn to sweets for an energy boost, but instead choose slow release carbohydrates like a banana or hummus with some oatcakes when you’re peckish. Do something you enjoy and don’t isolate yourself from friends – they’re going through the same thing and sharing feelings can be helpful, as long as you don’t compare yourself. 

Take time out for some exercise when you’re studying

Plan ahead with revision 

Ask for support from teachers if you need, but developing a revision plan for the months and weeks leading up to your exams is the single best way to reduce stress and help you feel more in control of your work. A clear timetable will also break down what can otherwise seem like a huge task and help you to set targets. 

Definitely don’t cram ahead… 

Cramming has literally never been consistently successful for anyone, no matter what people might brag. Spacing out revision, planning well and allowing for time to follow up on rusty topics are always going to produce better results. This is particularly true at A level – even if you did succeed with some last minute cramming at GCSE, this is less likely to work at higher level exams which test how you apply your knowledge.  

Work in chunks 

Working in small chunks of 15 or 20 minutes and taking regular breaks is a great way to cope with large volumes of material without feeling overwhelmed. Even if you find that you work more effectively when you get into a flow for an hour or so, breaks are still essential to ensure you can pace yourself and absorb knowledge more effectively. Experiment early on in your revision to find a pattern that works for you. A lot of people feel the Pomodoro app is very useful. It’s is a timer which breaks sessions into 25 mins and can be linked to a to-do list of tasks. After each ‘Pomodoro’, you get a reward. 

Create a pleasant working environment 

A well organised working environment is important. Get rid of clutter and distractions – being disciplined with use of technology and social media use during exam time will definitely help you concentrate better, too.

Have you any tips for coping with exams? Maybe you’re a parent with experience of supporting your children through exams? Let us know in the comments or on Facebook, Twitter, or Instagram.

What are you looking for in your music teacher?

Start by thinking about your priorities in choosing a music teacher. Make sure your child is part of the process; think about their learning styles, and how they engage with school or other lessons. If they’re academic, and already eager to make progress, they might be ready to start working quickly towards graded exams. If they have little prior experience of music, they’re unsure which instrument is for them, or they’re fitting music alongside numerous other activities, you may need a teacher who can help them to enjoy and appreciate music as a whole, leaving grades until a little further down the line. Graded music exams can provide great motivation for learners at any age, but for younger children, in particular, it’s important that your teacher provides a strong theoretical base whilst leaving space for fun, discovery and enjoyment.

If you’re not sure what’s best for your child, listen! Spend time exploring music with your child, and finding out what they respond to. There’s no limit to how early you can start to listen, enjoy, and help your child discover their individual interests. Look at the programmes at local music venues, community centres and theatres, many of which run music and activity sessions for babies or toddlers, as well as family concerts or teenage inspiration days for older children. Stop and listen to street performers, family members or friends; talk to your child about the music they hear in film or on television, what it adds to the story and which parts they like best. If they particularly enjoy jazz, pop, classical or other genres, make sure you look for a music teacher who can incorporate that into their lessons.

How to find a music teacher near you

Many music shops run ‘try an instrument’ days for children and adults to see which instrument inspires them. Most schools and Music Education Hubs will also have a small stock of instruments to lend or hire, allowing you to try out options before you commit.

Once you know what you’re looking for, there are plenty of networks to help you find a local music teacher. Talk to your school or local music service, or look online at reputable sites including:
EPTA (European Piano Teachers’ Association)
Music Mark
ISM (Incorporated Society of Musicians)
MU (Musicians’ Union)
ESTA (European String Teachers’ Association)

When you make contact, ask teachers about their qualifications and experience, both as performers and teachers. They should be happy to show you a current, valid DBS check, particularly if you plan to leave your child alone with them during lessons.

Most teachers will let you book one or two trial lessons before committing to a regular slot. You should expect to pay for these, but there’s no harm in meeting more than one teacher at the beginning; your child is embarking on what can become a creative and personal relationship, and you need to find the right ‘fit’ for all involved – for you, for the teacher, and most importantly for your child. You should expect the teacher to spend time ensuring your child is playing in a healthy position, developing good physical habits for future practice; talking to them about their interests; and giving them chance to explore their new instrument.

How parents can support children’s music lessons

Once lessons begin, agree with your teacher whether you should remain in the room or not. For many children it’s easier to learn and focus without a parent watching, but you’ll play an important part in their learning even if you’re not there every minute. You should be welcome to ask questions to understand your child’s progress, practice points and learning techniques, or to visit lessons from time to time. Some teachers or organisations might provide parents’ evenings or ask you to pre-arrange meetings and visits, whilst others may invite you into lessons spontaneously; it all depends whether you’re working with a private teacher or organisation, whether you’re in the same building regularly, and how your child’s lesson fits with other timetabling or commitments. Of course, no two organisations or teachers are the same. You should respect their policies and the needs of other children and families learning in each centre.

Most important of all is that you understand how you can support your child’s practice. Generally, teachers will suggest that young learners practice regularly, but not for too long at a time – focus on quality, not quantity. It often helps to find a regular slot in the day, and a quiet, focussed space in the house. Most important, though, is that you can offer support and encouragement, and a genuine understanding of what your child is trying to achieve between each lesson. Practice should focus on ‘sticky spots’ and other challenges rather than simple repetition – as well as giving your child a space to enjoy their instrument!

Once lessons are underway, you will encounter the occasional rocky moment. Your child is being asked to absorb a lot of new ideas, to become an independent learner and to think both logically and creatively. There are likely to be parts of that process which they find difficult, or which they don’t enjoy as much as others. It’s important that you don’t run from your teacher at the first clash – it’s almost certain that he or she has met similar challenges before and has techniques to guide your child through them. Trust in their expertise, but don’t hesitate to ask why they’re using a certain approach or technique; together you can better support your child and help them to understand and overcome challenges. If things get particularly tricky for a while, it might be best to arrange this conversation outside lesson time, when your child is out of the room.

On the other hand, children’s interests can change, their learning styles shift, or their musical ability may outgrow their first teacher. Don’t be afraid to consider moving on when the time is right, but be confident you’re not making that choice on a whim or based on a one-off event; a music teacher who understands and appreciates your child, and knows their strengths and struggles, is invaluable. If your child needs a new challenge, look for opportunities for them to enjoy their music outside lessons – children’s and youth ensembles, choirs, music clubs and festivals are all great opportunities to meet young musicians. If your child shows particular musical potential or talent, look out for holiday schools, regional or even national ensembles, and more advanced opportunities including one of the country’s excellent Advanced Training Centres or Specialist Music Schools.

Highlights included some spectacular reworkings of Rossini, Bach and Strauss. Year 13 Saxophonist Daniel Poole featured as soloist in Nigel Wood’s Under the Veil, in a spellbinding performance on the soprano saxophone. Congratulations Daniel!

Alongside a team of internationally renowned saxophonists, including Jim Muirhead, Carl Raven and Iain Dixon, Andrew Wilson guides Chetham’s saxophonists through a vast programme of solo and ensemble opportunities. Since graduating from the RNCM with first-class honours, Andrew has performed with many of the country’s leading orchestras including the Royal Liverpool Philharmonic, BBC Philharmonic and The Hallé. He is a former member of the Adelphi Saxophone Quartet, with whom he toured widely. Alongside his work at Chetham’s, Andrew’s other work includes tutoring for the National Children’s Orchestra, and at Huddersfield University, where he is currently the External Woodwind Assessor.

The saxophone department at Chetham’s offers a broad range of learning and performing opportunities to all our saxophonists. The saxophone choir brings all the saxophonists together for a weekly rehearsal in which they enjoy learning music from the Baroque to present day including pieces written by the students themselves. All the players develop their versatility playing music of classical and jazz styles as well as gaining experience on the baritone, soprano and sopranino saxophones. The saxophone choir continues to be a very popular ensemble and give many concerts both in and out of school and the highlight of this year was our lunch time concert at the Bridgewater Hall where we were warmly received for our Little Bite Music Concert. The audience were very appreciative and most complementary about the ensemble.

Andrew Wilson

Close friends Alexander (saxophone) and Rory (trombone) both graduated Chetham’s in 2015 before moving on to study Jazz at the Royal Academy of Music, where they are in their second year. They also perform regularly together in Jam Experiment, an award-winning jazz quintet which includes two more Chetham’s alumni – Toby Comeau (piano) and Jonathan Mansfield (percussion).

This may not be the first time you have seen Alexander’s name on these pages, as he won the inaugural BBC Young Jazz Musician Award in 2014 whilst studying at Chetham’s.

These nominations are further testament to how the Chetham’s Jazz Department has gone from strength to strength in recent years. The department is one of the fastest growing at the School, involving both first study jazz players and others keen to broaden their skills and experience. Jazz studies include improvisation sessions as well as specialist classes in jazz theory, jazz harmony, aural and transcription.

If you would like to vote for either nominee, click here. Voting closes on Wednesday 30 November.

Good luck from everyone at Chetham’s to both Alexander and Rory!