Here's a related ChoralNet resource.

Kathrine - Although I no longer sing in a community chorus (after almost 15 years of doing so - and am not doing so because of the press of business and other musical opportunities, such as directing a couple of church-related choirs) I had some opportunity with two of them to do so in a leadership position.  I no longer remember what the dues structure was, but that is ultimately irrelevant to my point.  In reading Allen's referenced resource, it seems that the key element in your decision process has to be looking at your financial needs and how much of them can be satisfied by dues, and what, realistically, can be satisfied by other sources of income (grants, donations, ticket sales, etc.).  In addition, you have to look at being very forthright about the costs involved.  Even though you may publish a budget, most people's eyes water just looking at it, and they don't really see what they're looking at.  If you decide to restructure your fees, a meeting with the membership BEFORE implementing the restructuring would be useful.  A caution:  keep it simple, soldier (KISS).  The worst thing you could do is to implement such a restructuring without any or much explanation - that's when members get fired up - and I'm sure you know that.  Transparency and simplicity (in a very complex situation, I know) is key to keeping your membership on board with the progression.

 

A somewhat larger issue which has affected several choral societies in this area (DC) which is not often addressed but lurks at the root of all these types of decisions and problem-solving is:  What does this chorus want to be when it grows up?  By that I mean, what's the fundamental direction of the group and its desire(s) musically and sociologically?  The latter is not the usual type of discussion in this area, but I believe it's very important to think hard about this and get a real sense (as opposed to a "felt" sense) of what the membership is looking for.  Let me be specific.  In one chorus I was a "ringer" for (as a tenor) for two years, part of the expectation for the membership was to help sell fruit (yes, they did this; this is a big thing around here) to raise funding.  I kept hearing bellyaching from a relatively small proportion of the membership running to the tune of "This used to be a group that enjoyed each other's company and happened to sing; now we have such grandiose notions that we not only have to sing, but have to be salespeople!"  What made this ironic was that they had hired a very highly competent and energetic and ambitious director, who also happened to be a very highly respected high school choral director in our area with years of experience both at that level and at the professional level, and they should have known (or had made clear to the membership) what they were getting with this director.  However, the undercurrent was there and it was growing.  I was let go after the second full year (because of other issues not even truly related to me other than I happened to be in the section with the biggest problems) and the director left, I believe, either a year or two later.  The problems were because the leadership were not truly in touch with the desires of the membership for what direction "their" chorus is heading.  This very problem was at the root of another chorus with which I've been associated for the last 15 years (on a technical level, although I have sung with them as well as a "ringer") which has undergone a tremendous change in their directors in the last five years - four in that time.  Again, the undercurrent and comments some people made to me led me to understand that the choir was headed one way, the board another, and the director (who had led them for at least 15 years) yet another.  When this all finally came out into the open, the results were unpleasant at best, and disruptive at worst.  The then-director left before the third concert of a four-concert season; they had to cancel the third concert; found a director who took them in a somewhat different direction, and who left after his fourth season.  Who and what was to blame?  Membership complaints that the director was turning this into "just another church choir" with his music selections (although the membership did have input for that), that the director was spending too much money hiring professional musicians (you get what you pay for, and if you want REALLY good, you'd better be ready to pony up, especially in the DC area), etc., etc.

 

On the other hand, several choruses with which I've been or am associated here locally have a very clear idea of what they want to be "when they grow up" - they're there.  It's, in the first instance, a group which gathers socially and sings.  They don't get fussed over a concert dress, though they dress nicely (ladies in tea or ball-type dress, gents in suits or white shirts, ties, and vests - but no one color scheme), and they do their best - but because a lot of these folks are not professionals, don't necessarily have a lot of formal musical training, sometimes things run a little roughly down the track - but the audience knows this, and they have a ball.  Another group is fairly similar - they're a little more formally structured, but again it's mostly for the sheer joy of making music, and while they work at getting it right, occasionally there are train wrecks.  Okay - perhaps those of us with a different starting point and end goal may find this unacceptable, but this group is quite happy at what it's doing, and the audience doesn't have truly high expectations - it is, quite literally, a "community" chorus.

 

I hope this is useful for you, and while it doesn't directly answer the question you posed, it may be useful in helping to address the underlying issues which can lead to some sort of resolution of your concerns.

 

Ron Duquette

Founding Director, The Living Water

Music Director, Fort Belvoir (VA) Catholic Community

Katherine,

 

Each participant in our volunteer community chorus (of about 50) contributes $75.00 per season (two seasons per year--spring and fall) to help defray costs and expenses. An "early bird" enrollment discount of 20% is offered to those who pre-pay their dues at least two weeks before the start of a season, and we also offer a discount for married couples who join together.  These amounts were re-evaluated three years ago, and represent a slight fee increase from the ones established in 1999 when our chorus was founded.

 

All of our performances (about 12-18 per year) are free to the public, so there are no tickets to sell.  However, as a 501(c)(3) charitable organization, we do encourage each of our participants to solicit a minimum of $200 per year in corporate sponsorships, foundation grants, and individual donations.

 

Let music live!
Sam.

 

My adult community chorus does three programs a year (five performances total) plus a few extra things that surface from year to year.  Dues are $150 per year, though new members who join after Christmas (our first season concert) pay $100.  Members who pay in full at the beginning of the season and then have to withdraw don't get a refund. 

 

We also have a music director, accompanist/asst. conductor and part-time administrator.

 

We don't require ticket sales by our members, and only about half of the membership sells tickets directly.  But, like most community choruses, the vast majority of our audiences are made up of people we know (we survey our audiences to learn this).

 

Many of our members also do a variety of volunteer work over the course of a season, ranging from board or committee service to singing quartet gigs at Christmas.

 Here in Edmonton, I would say that our community groups have fees of anywhere between $150 and $400 per season.  There is one group in town that includes buying tickets as part of their fee, and if choir members sell the tickets, they personally keep the money - thus reducing their fee.  My own groups do not do that.  Everyone is just encouraged to sell as many tickets as possilbe, but we do sell quite a number at the door.

 

One of my groups opted to raise their fees so they wouldn't have to do fundraising.  They are mostly between the ages of 30 and 50, so time is money, and most have jobs that pay well enough that they have enough funds to cover their leisure activities.  When we compare our fees to the cost of some sports groups or yoga or dance classes, the choir seems like a good deal, although it is more of a time commitment. Not only do we expect people to attend our weekly rehearsals, but they also are expected to volunteer to do something for each concert, and are also expected to sit on our board at least once every 5 years. This is an auditioned group of 36 who are quite close knit, so they generally do stay in the choir for a period of time.  We do have a policy in both of my groups that if someone legitimately cannot afford to pay, but fulfills all of the other requirements of membership, they will not be denied a spot in the group.  This has rarely come up, however, so we don't regularly have to deal with the awkwardness of asking someone to prove they can't pay.

 

So, I would agree with Ron in thinking that you should discuss what people can afford to pay, and what they expect to get for their money.  You will undoubtedly need to acquire more funds through grants, fundraising, tickets sales, etc., so, just like a business, we all have to balance our budgets.  As long as your group is happy, I wouldn't really worry too much about what other groups are doing.  You might find a creative way to get extra funds that other groups have not thought of or don't have the expertise to pull off - ....but I do know that it feels good to think that your own approach is not too different from "the norm."

 

Paula Roberts

 

.

 

Katherine,

 

Excellent question. I can tell you what we're doing here in Music City.

 

Nashville Singers started in November of 2008 with four singers. We have now grown to an auditioned chorus of over a dozen singers. Our standard dues rate is just $20 per month, payable in six or 12-month blocks. Student dues ar 50% of the standard rate. In addition, all singers pay for their own performance attire (informal and dress uniform) which costs approximately $130. We have 40 rehearsals annually. Our annual chorus budget in 2009 was a mere $2388. It grew to almost $15,000 in year two. Some ten weeks ago we produced two near sellout concerts and released our first CD. Our inaugural concerts drew 278 attendees from 36 cities in eight states with a marketing budget of $300.

 

Everyone is a volunteer.

 

The expectations of our members and leaders are extremely high and posted on our website for all to see. If our standards scare someone away, they would not likely be a good fit anyway.

 

Volunteer organizations with extemely high expectations of their leaders tend to attract highly competent leaders. The same applies to the singers. Good singing attracts good singers. Bad singing scares away good singers.

 

The members are expected to memorize approximately 12 new songs each year, and be off the music within four weeks of the song being introduced. The chorus pays for all music and part-predominant learning media. We maintain an active repertoire of over 24 songs.

The mission of Nashville Singers is to entertain, educate, unite and uplift our audiences and members through music that is distinguished for its innovation, diversity and artistic excellence. This mission supports our vision to be a dynamic choral leader, enriching lives through the performance of significant music. Achieving this mission and vision requires an above average level of dedication from each member.

This Is what we expect of our members:

1. Dedication to excellence: The Nashville Singers are dedicated to achieving the highest level of singing and performance quality. Achieving our collective goal starts with our members; therefore, each member must be dedicated to achieving the excellence we seek.

2. Administration of the chorus: The Nashville Singers have an "active member only policy." This means that each member is expected to perform one of the following: chair or serve on at least one committee, accept a position as an appointed official, serve in a chorus elective office, or be accountable for a position of responsibility within the chorus.

3. Participation at rehearsals: The Nashville Singers expect each member to attend all rehearsals on time and to participate attentively in the entire rehearsal schedule.

4. Memorization of music and performance plans: The Nashville Singers require each member to be able to follow the Director of Music or his assistants and/or coaches. Members are required to memorize the chorus music and visual plan within four weeks of introduction. The Nashville Singers do not expect this to be accomplished at chorus rehearsals; therefore, it is expected that a member will spend time away from the rehearsal to accomplish these requirements.

5. Certification for performances/recording sessions: Prior to a performance or recording session, or as new music is added to the chorus repertoire, and at the discretion of the directors or section leaders, a demonstration of proficiency in notes and lyrics may be required through the use of a tape or MP3 recorder or other methods as may be designated. In addition, special demonstrations of the visual plan may be required. Inability of a member to perform any music to an established standard may disqualify him from participating in performances and/or recording sessions.

6. Participation at performances: Members are expected to participate in all Nashville Singers public performances. However, representing Nashville Singers by singing in public appearances is a privilege which will can be jeopardized by poor attendance at rehearsals. Exceptions can be made, on an individual basis.

7. Positive attitude: The Nashville Singers expect each member to maintain a positive attitude at all chorus functions. This is not to say you cannot have an opinion or make a suggestion. However, problems or complaints should be brought to the attention of a member of the Nashville Singers Board of Directors, in private, and preferably in writing.

8. Participation in ticket sales: The Nashville Singers will produce one or more concerts each year which depend on public ticket sales to achieve financial success. Each member is required to sell tickets to these events.

9. Payment of dues: Membership in Nashville Singers requires payment of dues.

10. Agreement to abide by Nashville Singers expectations of membership, standards and policies: Each member of the Nashville Singers is expected to read and abide by the expectations of membership, standards, "Code of Ethics" and policies that may be enacted from time to time by the Board of Directors.

Code of Ethics

Nashville Singers members hold themselves to high standards of conduct in the affairs of the chorus and agree to abide by this Code of Ethics:

1. We shall do everything in our power to perpetuate Nashville Singers.
2. We shall deport ourselves and conduct Nashville Singers functions in such a manner as to reflect credit upon Nashville Singers and its membership.
3. We shall conform in all respects to the bylaws of Nashville Singers and the policies from time to time promulgated by its board of directors.
4. We shall accept for membership only congenial men of good character who love harmony and can meet the musical standards of the organization.
5. We shall exhibit a spirit of good fellowship toward all members, and will not discriminate on the basis of race, color, religion, economic status, sexual orientation, national origin, age, ethnic background, or disability in any of our policies, procedures, or practices.
6. We shall refrain from forcing our songs upon unsympathetic ears.
7. We shall not use our membership in Nashville Singers for personal gain. An example of "personal gain" would be an insurance salesman joining Nashville Singers for the sole purpose of poaching the member roster looking for new customers.
8. We shall not permit the introduction of political, religious or other similar controversial issues into the affairs of Nashville Singers.
9. We shall endeavor to spread the spirit of harmony throughout the world.
10. We shall render all possible altruistic service through the medium of singing.

 

I hope that you and anyone reading this can put the information to good use in your chorus or choir. In case you're interested, you can listen to audio samples of Nashville Singers at the following page on our website.

http://www.nashvillesingers.org/Repertoire.html

Todd Wilson
Executive Director
Director of Music
Nashville Singers, Inc.
www.nashvillesingers.org
615-669-TODD (8633) cell
615-523-TODD (8633) fax
615-825-7778 voice mail

The philanthropic mission of Nashville Singers
is to provide resources and support for music education
in our schools and the community.
 

Albany Pro Musica's dues for the core chorus of roughly 65 singers is $75 a year, and they do NOT buy any music.  We seem to be very low compared to other community choruses.  But we ask a lot of our singers, many concerts, fund-raising gigs, run-outs, etc.  Occasionally I will ask them to buy a piece we can't afford, or suggest that the buy the vocal score becuase all we have is the choral score (Poulenc, Durufle).  People who leave early or come in late still pay $75.

 

We buy the music for the group becuase over time we use it again and again, especially for run-outs, and we want it easily available.  We donate the music to the University I teach at in exchange for rehearsal space, so the music is always there, I can use it with my students, I can revive it with Pro Musica as needed.  It's a great situation, and probably very unusual.

 

We have an  enlarged chorus for big works.  Those who join for a specific concert pay $25 and buy their own music unless we happen to have sufficient copies on hand. 

David

Oh, forgot:  We dont' require ticket sales.  We hand everyone an envelope of tickets for each concert, but they can always give them back unsold (or get more!).

I'm familiar with what (3) chorues have or are currently doing in the Chicago area.

 

1) Our a cappella choir charges a one-time $25 initiation fee & the singers buy & keep their music. The music runs them $40-$50 per concert. We work really hard to keep the music at $50 or less. We give our singers 4 tickets per concert to sell & most sell all of them & occasionally ask for more. We don't push hard...if somone turns them back, they turn them back.

 

2) Another group that I sang with, although its' been a few years, charges $100 per concert (2 concerts a year), which includes cost of the music. The caveat is that the singers do NOT get to keep the music.

 

3) Another group charges $125 per season and the singers buy & keep their music. They also receive 4 tickets to resell or give away.

The Southwest Women's Chorus gives two major programs a year, Fall and Spring, with two concerts each program. It has a paid Director and Accompanist. Dues are payable in Fall and again in Spring at $60 each ($120 per year). The chorus pays for music and keeps it in its library. The chorus has typically 40-50 members.

 

We have discovered over our 10 1/2 years of operation that the chorus members are capable of selling 75% of our concert tickets, with the rest coming from box office sales. Our concert hall holds 360 people. We start with 10 tickets per member; more if needed. We expect them to sell the tickets, although there is no penalty for not doing so. We just heavily encourage, using a fund-raising type filled-in thermometer to show progress in both ticket sales and program ad sales. We come close to selling out at both our Fall concerts and manage a 3/4 house on the Spring concerts.

Katherine,

 

I am the executive director of a 60-voice community choir in Oklahoma City. We are an all-volunteer, tax exempt, charitable organization.  We meet once each week for two hours, from late January through May, then off for the summer, then again from mid-August through mid-December.  Unlike your group, we typically have about 20 hour-long performances per year at public venues (festivals, shopping malls, etc.) and at nursing homes, retirement communities, and convalescent centers.

Our participants each contribute $120.00 per year (we check out music to them for the season), and we also do fundraisers and accept donations from individuals, businesses, foundations, etc.  No ticket sales.

Hope this helps.  Feel free to check out our website for additional info:
http://www.spiritfulvoices.org

Let music live!
Sam.

Sam P. Vladovich
Executive Director
Spiritful Voices Community Choir, Inc.
PO Box 720468
Oklahoma City, OK 73172-0468
Telephone: 405-414-SING (7464)
E-Mail: svladovich(AT)spiritfulvoices.org
Web: http://www.spiritfulvoices.org