First Unitarian Society of Minneapolis

First Unitarian Society

Minneapolis, Minnesota

by Mark Slegers

It was my pleasure to spend November 29 and 30, 2007 with many of you at First Unitarian Society and I am glad to recommend future steps for the Music Program. I prepared for my visit through early phone conversations and emails with Rev. Kendyl Gibbons. Later I communicated regularly with Board Chair Barbara Weatherhead. There were further phone interviews with Barbara Brooks, Jan Devor, Scott Sandberg and Bob Aderhold.

While at FUS, I conducted extensive interviews with a variety of interested folks. I had several opportunities to talk further with Kendyl, Barbara Weatherhead, Jan Devor, Barbara Brooks, with Gabriella Diaz-Alatriste and FUS representatives of the chorus and orchestra and to those who would like to see an expansion of the music program. On Friday night some forty folks attended my presentation where we discussed the Seven Components of a successful UU Music Director and reviewed the results of the FUS music survey. I believe there were some 113 surveys completed. Some surveys were from couples which mean that there were at least ten more people who shared their views. This shows that music is a very important spiritual element in the society and that people care about the outcome of this concentration on music. I am particularly grateful because this has helped me better understand your members’ feelings and intentions regarding music.

The congregation welcomed me warmly and I am grateful. I owe a profound thank you to all those who shared their musical ideas. In particular I thank Kendyl Gibbons and Barbara Weatherhead for their support and hospitality.

At First Unitarian Society I found many who are proud of a rich musical history and a high level of excellence in both the choir and orchestra. There is much praise for Barbara Brooks and Gabriella Diaz Alatriste for their considerable skills as directors and for the special music services they have led. The level of accomplishment and excellence the orchestra and chorus exhibit in these services is rare in UU or any other denomination’s churches with comparable membership. Many at FUS are proud of the Chorus’ presentations at special music services and wish there were more chances to hear them.

There was also much praise for the excellent keyboard work of Music Director Barbara Brooks. (I myself would love to hear Barbara play.) So many survey respondents related specific memorable keyboard "interludes" or organ postludes; some reported being moved to tears.

Many people appreciate the Sunday presentations of the Eclectics. It is important to add that many who relish the "classical" presentations of the choir and orchestra also enjoy the Eclectics. This group has worked hard to select and prepare songs that in an informal way provide relevant music for worship. Folks appreciate their accessible music and generally find them a welcome "rounding out" of styles presented in worship. Many who would like to be involved in less formal music-making or who feel they are not up to the difficulty of music presented by the Chorus, have been drawn to the Eclectics. Consequently it has grown from the original intent of a folk group to a folk choir.

The Eclectics seems to represent the desire of a significant number of congregants for less formal music in Sunday assemblies. The group’s popularity has highlighted the need for a place for these folks to plug in easily. And it must be said there is frustration about this, even anger. Member congregants want more access to their music program both as listeners and as participants. Some of that frustration has been focused on the orchestra and whether its players are members or not. I don’t think this is the real issue. The issue is that congregants, members, want to participate, in music, share their gifts with the congregation and have access to a community of those making music. They feel they can not, while non-members in Orchestra and Chorus have that outlet. My proposal will address this need.

The Chorus has very much enjoyed the leadership of Barbara Brooks and, as I said above, is proud of their history of excellence. Beyond such accomplishments there is a fine spirit of community there which is likely as close as any community in the church. This should be encouraged, and, yes, broadened, and nurtured.

It is essential that Chorus be an intrinsic part of church life. To that end, I propose what many (some in the choir) suggested in the survey: that Chorus sing two pieces at Sunday assemblies twice a month. This will augment the sermon and bolster hymn singing as well. Now this may have to be worked up to with a schedule of singing every third Sunday immediately, and reaching this two-weeks-per-month goal by fall. Such a change may stretch some schedule-wise, but it will enhance Sunday assemblies, especially the hymns, and augment the spoken word with choral works chosen to match sermon themes. Chorus will still have time to present at least three music-intensive services per year. I run such a schedule with my groups and they still present four music services per year. Certainly, when there is a special music Sunday the chorus would sing just one other time during that month.

It is essential that FUS broaden the choice of musical groups in the church. There needs to be a group where people can renew their often-dormant musical skills, serve the church and find community in music-making. I believe a variety of groups to join will provide the much-needed access to the music program and will decrease tensions.

I propose the founding of a non-auditioned second choir, the Intergenerational Choir for adults and high school youth. This choir would present a variety of simpler music and would be, in particular, a safe place where anyone wishing to "join in the song" has a place to do so. IG choristers could expect to grow musically and vocally. Even someone who does not read music (yet!) would feel comfortable.

In the IG Choir singers would be instructed and encouraged. It has been my experience that all folks joining my choirs come to the experience a little rusty, and without exception they want to improve. I recommend a fine vocal be brought in at each choir’s first rehearsal of the year for a group voice lesson. Encourage the new or closeted singer and welcome inexperienced singers to join in this special event.

The IG Choir is not a group to compete with Chorus. On the contrary, it would enhance it and serve as a feeder program where singers increase their skills and eventually become part of the more-advanced, auditioned choir. However, not everyone will want to "fly-up." My entry-level choir is a place where people enjoy a more relaxed brand of excellent music, prepared well; it also provides a less-involved schedule and just as valid of a choir community connection.

I propose that Intergenerational Choir sing in church one Sunday per month. If a month of Sundays were graced with two appearances of the Chorus and one of the Intergenerational Choir, with the fourth featuring the Eclectics, there would be strong vocal leadership for hymn-singing every Sunday. People might grow to enjoy hymn singing, and as I say to my congregation, begin to "Sing out!"

I am sure you are aware that having a volunteer orchestra in churches is rare indeed. And as I have said, it is a blessing. Your orchestra is part of your history. Through all the changes in leadership, theological transitions, births and deaths, your orchestra has been and continues to represent the church that has been. It is now a voice of continuity to that by-gone age. Most importantly it continues to provide a "spiritual food" that many so dearly cherish at FUS.

Years ago some fortunate churches had orchestras that were in fact staffed by non-members and a few members, just as yours is today. Your orchestra is the only one I still know of in existence. Most have opted for the far more expensive and not as satisfactory "pay per play" model that I have in Portland. Your budget for a few paid players to enhance the volunteers and your conductor is far less than the $25,000 I pay out per year to fund my orchestra-choral Sunday presentations (And this $25K does NOT include the conductor!). Consequently you all have the musical advantage of your players acquiring the kind of techincal, spiritual and community depth that comes from weekly rehearsals. And because of this you have attracted an excellent conductor, Gabriella Diaz-Alatriste. You are very fortunate indeed!

I believe the issue around member/non-members has less to do with the orchestra and its music than it has to do with folks’ desire to find a way they and their children can participate in their church’s music making. It is my hope that, rather than cutting the orchestra to bare-bones, the Intergenerational Choir and more music programming for children and youth will meet the need so strongly expressed in many surveys.

I encourage continuing the special music-intensive Sunday services. This will help grow all choirs and give the Chorus a long term goal to strive for. Choristers will build choir community and increase their musical skills. According to the surveys, many in and outside of the music program enjoy the three or four services per year. Partnering with other departments, such as in the Lauridsen: Lux Aeterna service, was very well received and mentioned quite a bit in the surveys. It is important to present music that goes beyond a concert experience and becomes "spiritual food." Such a service might well be on a single theme such as peace, healing, love, All Saints, grief, or UU identity. I find short anthems alternating with poetry a very strong format. I also might involve a story teller, dancers, or drama vignettes. I have organized a UU identity service alternating 4-minute testimonials with shorter anthems. This is also the ideal time to involve instrumentalists both in ensembles complimenting/accompanying the choir’s presentation and as instrumental soloists.

These services are an opportunity to both grow the choir and fund-raise for music. I find that folks give generously when moved by "our own people" presenting special music. Please see the special fund raising model below.

There was much interest in music for children and youth. Many are glad to see the establishment of the Children’s Choir and in particular are keen to see that program grow. Choirs for youth and children work best when music professionals work with kids directly at rehearsals, and religious education professionals serve in an advisory capacity on a continuing basis. I am pleased that Jan Dever is willing to be active in this area. Success will depend on many factors, some of which are beyond the control of leaders i.e., soccer, dance, child visitation schedules, parents ability to chauffer, etc. But the continued collaboration between RE and Music in matters such as RE’s help in identifying kids and parents where there might be an interest and Music’s recruiting, rehearsing and coordinating themes and schedules and planning is essential.

Unfortunately, the current Children’s Choir by all accounts is not working well. Much of what interests kids in such a program is to sing some music they think is cool. Try beginning the year’s rehearsing with a mixed bag of music (kid-cool music and meatier choices of the Director). Plan to drop music that "wears out" and the kids grow bored with. Then go with the music they have enough sustained interest in to polish and the best of the music the director want them to learn.

I propose dropping the current children’s choir and considering in the near future a younger children’s choir, grades K -3. This age is less committed outside and the young ones especially are keen to begin singing (as are their parents for them to do so). This choir could feed directly into the proposed bell choir and would complete the program of music for children and youth, with a choir for every age group.

Handbells

A sizable number of those answering surveys suggested handbells. I heartily recommend bells for kids. I thank Jan for poling the RE Committee and the kids themselves. It seems there is interest and energy in beginning some kind of bell or chimes (they are very nice, too) program in grades four and five. So be it! I suggest that for the sake of critical mass 6-8^th graders be included. Handbells are ideal for kids of any age, but from older elementary through middle school bells are excellent. Boys, whose singing voices don’t seem to behave as they used to, love the physicality of bells. Hand bells can be made age-appropriate by giving younger children easy parts and older kids or those taking a musical instrument more challenging positions in the choir.

It is my experience that Malmark Company of Pennsylvania makes the finest handbells in the country and at good value. I recommend beginning with a three-octave set which will get eight players off to a good start: a four octave set is good for 10-11 players. I suggest you consult the Malmark website.

Eventually, rehearsing once a week, a handbell choir can comfortably present two pieces in worship three times a year, i.e. at Christmas, early March and late April. As the group progresses in commitment and skill, an extra presentation can be added.

The music committee can be a great help to the Director of Music. In fact, it is the role of a music committee to assist the Director of Music in establishing and expanding his or her vision of the Music Program at the church. I consider my Music and Arts Committee an extension of my hands, eyes and ears. There are large jobs for which many hands make light work. Receptions at concert events are just the beginning of the kind of help I need. They are my eyes and ears as they report about how people in choirs and the congregation are reacting, what they’re thinking – basically what the issues are. In turn it is incumbent on the D of M to determine which functions and projects in the life of the Music Program need the committee’s help. For example, Music Committee members could easily be part of a team to assist the D of M in recruiting new members, but it would be too much to ask a committee member to substitute for the D of M at a choir rehearsal. Also, it should not be the Music Committee’s role to supervise the D of M. I have never seen that work. But the committee might well help the D of M with a benefit concert (of the D of M’s choosing, and that fits into the schedule of music and other church events) or acquaint the D of M with the people in the congregation who can serve and should be contacted.

Many survey respondents asked for more music performed by small groups from the congregation. That’s a tough one because, just like in a choir, there are not enough opportunities to give everyone the exposure they might desire. And, with greater choir participation in Sunday assemblies, there are even less opportunities. Certainly it is important for music directors to consider giving solo and small ensemble opportunities to those capable of doing such work. And it is beneficial to the program to give member soloists such opportunities to grow their skills in this way. I find summer the best time for this.

I propose the Music Committee come to the aid of the Director of Music by organizing a list of instrumentalists and singers from the present and past, complete with email addresses, phone numbers, styles of music played, etc. With the choir singing two Sundays a month, this need will decrease, but it is easily a time-consuming part of the D of M’s work load and the Committee’s help will be appreciated. Such a list will not only be a data base for contacting singers about small groups, it will aid the D of M in her recruiting of choir and orchestra members.

I realize there is much planning and assisting in programming your committee does. And though it is unusual, it seems to work. With more choirs singing on Sunday, the music committee may need to redirect some of their energies.

A music committee might well use these questions in its goal-setting:

• How can we help our music professionals establish, build and maintain musical organizations?
• How can we guide our music professionals to the right resources in the congregation?
• How can we think through this work with them?
• How might we help the choirs or youth music-makers with their larger musical presentations?
• Might we help establish a data base for instrumental/solo performers?
• How might our committee work with RE to support music programming for children and youth?

Music Committee Membership: How can we keep fresh ideas flowing into our arts programming? Consider broadening the membership and the scope of the committee. Include RE parents who are interested in strengthening Children and youth music. How about other artists, i.e. sculptors, painters? Do honor term limits for committee members. This gives new people (members) with new ideas a chance and tends to end the "we’ve always done it this way" syndrome.

A music program of FUS’ stature must have a fine musician in the position of Director of Music, and you certainly do in the person of Barbara Brooks. Reading your surveys and hearing from folks in interviews, I am confident that she is a consummate keyboard artist and an excellent choral director. Barbara’s work is essential to your experience on Sunday mornings. Excellently presented music moves us. Anything less does not.

The Director of Music must be ultimately responsible for all music presented at the society. The quality, care and keeping of choirs, soloists, ensembles, wedding and memorial music, even outside musical groups, - all of these are under the D of M’s jurisdiction, and she is charged with making sure they are excellent.

All paid musicians presenting music in the church are supervised by the D of M. The D of M must further maintain the excellence of music presented in the church by coaching volunteer musicians presenting music at Sunday assemblies. For instance, in my interview with Bob Aderhold, he said he would welcome Barbara attending some Eclectics rehearsals and having the benefit of her expert musical coaching.

I think it is important that the Summer Music program continue as it has, with a coordinator working to match theme with musician. Certainly Barbara and the Music Committee can assist this process, but the Director of Music needs this time for envisioning the program for the upcoming year, i.e. reviewing, selecting ordering music and of course recruiting.

I have recommended that Barbara direct a second choir to give opportunities for greater congregant musical participation because Barbara is so capable as a choral director and voice coach. She is a perfect combination to work with those resurrecting their musical skills to serve the church and find community in music.

In this expansion I propose the Director of Music have established office hours where she is available to work with staff, meet with congregants and recruit the new Intergenerational Choir.

Shakespeare states, "The arts are the garden of the spirit." Recruiting, then, is merely opening that garden gate graciously and in many different ways to possible participants.

So the Director of Music will need to be creative about marketing and recruiting members. Putting a notice in society publications is but one way of getting the word out. As its only tool, the recruiting effort will fall short. Try Men’s and Women’s Choirs,

Bring-a-Friend programs, having the Chorus "surround" the congregation in hymn-singing, presenting brief music at certain church groups, like the Intergenerational Choir at a YRUU meeting, etc. I would be glad to share details on any of these programs with Barbara.

The best tool for recruiting is personal contact. This lets people know they are wanted and that they are highly regarded. It’s flattering to get a call or be approached at coffee hour by the Music Director saying, "I want YOU!" The Music Committee can be a great help in assembling the possible participants, but mostly the D of M must do the contacting. The message then is Recruit, recruit, recruit! And the mode is Personal contact, personal contact, personal contact!

The Director of Music is most always part of the worship team, i.e. all those presenting elements of a Sunday service. Worship planning meetings can be an exciting and creative endeavor for all involved. The minister leads the way and others presenting in the service fit in around the minister’s theme as all shape the service to best realize a spiritual whole.

I suggest the Friends of Music model that several UU churches have found successful. In Portland we have utilized it for 25 years and we call it the Music & Worship Fund. The choirs present creative music-intensive services with guest artists and special offering envelopes are included in the Order of Service. During the service the congregation is invited to contribute. Donors are published at $25, $50, $75 and $100 levels, (We have added $250, $500 and $1,000 categories.) The Society might expect to gross about $2,000 per musical Sunday in the first year. Three services would then gross $6,000, $8K for four special services. Keep overhead down in that first year or two until you get an idea of the congregation’s giving level. As a safety measure in August before the first year of Music & Worship, send out a letter from a musically- involved board member introducing the program and asking for donations. Also, ask the choir(s) to make a donation in this kick-off effort. This would begin the year with possibly $1,500 and these donors’ names would be published at the first special music Sunday.

In Portland there was once a concern that Music & Worship might deplete giving for the annual fund drive. However, after investigating we found that those who gave most generously to the Music and Worship Fund (at a mere $100 per year) were also those who supported the church fund drive generously. Besides, $100 seemed a very small amount (I call it latte money). At that time we set this policy: to keep from conflicting with the fund drive, we do not have music-intensive services during the lead-up to the all-church canvass.

Lyle Schaller, renowned church consultant, writes that such funding models work well to generate much needed program funding. People will give to those things most dear to them. This has been so successful in Portland that we are able to fund other music items like guest musicians at Easter and substitutes for music staff on vacation through this fund. Music is not the only group seeking funds here at our church. There are a limited amount of extra causes and moneymaking events to which people have the opportunity to give. Rather than staff jealousy over who gets to put envelops in the order of service, it has fostered an atmosphere of abundance. Our congregation is proud of their generous giving to special offerings, be they for social justice issues, sending youth to Hungary to visit with partner church teens or for music.

At special music services there will be those attending who will give to make sure these special music programs continue. There will be non-members fed spiritually by these services who will see fit to support them and all music in the church. And what better way to extend a welcome to non-members than for them to enjoy an all-music service. A little secret: at my church the highest attended services are the music intensive special services we present four times a year. Why? Because so many guests, often friends and family of the choristers, attend. We consider this a blessing and a good way for folks to enter the church door. I know for a fact that many have joined the church who first came "just to hear the music."

1. Director of Music: Increase to three-quarter-time or 0.75 FTE, 30 hours weekly. I propose a salary in the $30,000-$35,000 range, plus benefits and a professional growth budget of $1,300, per year. Check the UUA salary Guidelines rates specifically for your area. The D of M would serve year-round, but would take summer as a study, planning and recruitment time, (still holding some office hours), with someone else to coordinate summer music under the D of M’s supervision. The D of M would have a 4-week vacation and time off between Christmas and New Years. The main foci for the Director of Music would be playing service music at the organ or piano, recruiting for all choirs, directing the Chorus and Intergenerational Choirs, supervising all music staff and administration. She would also hold office hours three days a week, to recruit choristers, meet with staff & congregants, and meet weekly with Kendyl and any worship leaders.

2. Handbell Choir Director - 0.1 FTE at $4,000 per year. In conjunction with RE, seek a Musician with experience working with children’s choirs, and in particular someone who has had experience with handbells. The package should include a Professional Growth Allowance of a minimum of $800 yearly and a $200 music supplies budget. His/her duties:

• Report directly to and meet weekly with the Director of Music
• Recruit and lead a children/youth bell-choir, grades 4-8, or whatever it takes to have a full ensemble. Adults, especially parents, can help coach. Rehearse weekly, late September through April.
• 4 office hours per week
• With RE’s help, recruit by personal contact possible ringers in this age group.

3. Orchestra leader: I propose the orchestra director be given a salary commensurate with the time she gives for her position, which includes:

• Three hours for an evening of rehearsal, work getting ready, ministering to players
• Hiring, recruiting players - 2 hours
• Meeting with D of M weekly – 2 hours
• Studying scores & general office prep –6 hours

At 13 hours per week, the Orchestra Conductor’s FTE is 0.325. Depending on The UUA Guidelines for your area, a suggested salary should be $14,500.

4. Music Budget extras. I trust that FUS has a budget item for the care and tuning of the instruments used for worship and rehearsal (as well as RE pianos). I would advise at least one tuning per year for RE pianos and two for sanctuary and rehearsal instruments. A budget should be calculated according to the number of active pianos and the going rate for tuning in your area.

Sheet music acquisition for orchestra and choirs: $3,500, i.e. $2,000 for choirs and $1,500 for orchestra. Adding a second choir will increase the expense of choral music. This is calculated on both choirs singing about 20 new anthems (beyond the existing library) a year, at $2.00 per with 25 singing in each choir. Add two $10 dollar major works for 25 people for an additional $500. Add a little extra for miscellaneous items. As groups grow so must the budget for music.

5. Section Leaders in Chorus and Intergenerational Choir: Section leaders should be continued as needed. I might suggest the IG Choir rehearse on the same night as the Chorus and the section leaders sing in both groups. This would mean a full evening as well as three Sundays a month when section leaders sing at assemblies. In Portland, such service is about $300 per month, September through May, with some extra pay for special Saturday rehearsals with the orchestra.

I know that everything I propose can not be implemented immediately. Funding won’t allow it. Proposals for salary increases (and Music Supply budgets) can have a certain sticker shock, so, if necessary, set a timeline to work toward these budget increases.

I suggest the following two programs in what I’ll call a Near Future Plan:

1. Handbell Expansions: When handbells catch on with your youth, it may be necessary to expand the program with kids who have "graduated" the grade 4-8 choir. A combination of high school kids and adults is a nice group. There may not be enough HS kids for their own choir and adults will be anxious to try bells out.
2. Cherub Choir: As I proposed above, the existing children’s choir should be discontinued with plans to create a choir for children, grades K-3. The director of such a choir should be a musician experienced in working with children of this age. By the way, don’t call them the Cherub Choir.
3. Consider drama as a way to involve and enrich the arts experience of older youth and Intergenerational Choir programs.

Again, it was a pleasure to be with you. Thank you for all your help and insights. I am happy to serve as a continuing music resource to your music professionals either via email or by phone. As a full-time director of music I have time to research music and experiment with concepts, and am happy to pass on ideas.

Sincerely,

Mark Slegers

Music Consultant

1011 SW 12^th Avenue

Portland, OR 97205

503-228-6389, ext. 18