The All-Church Orchestra (Part 1)

What is the All-Church Orchestra?

The All-Church Orchestra is an effective tool that brings players from the pews to the orchestra for a one-time playing experience in a worship service. Players gather for one rehearsal and then play one or more (no more than six or seven) pieces during a worship service. You may (or may not) set age limits on those who participate. Many directors have used the All-Church Orchestra as a recruitment tool for their group (as I have done). It can turn your regular ensemble into "inviters" and "encouragers."

In the next several articles, I'll be sharing with you what the All-Church Orchestra looks like after eleven years of trial and error (lots of errors). I will list the schedule in a timeline format starting with creating packets all the way to evaluation. Prayerfully, this will be an encouragement for you to try it. It does take some work, but the Lord will honor your labor.

The Packets

· Have packets of music available six weeks before the event. When is the best time to have the All-Church Orchestra? Once a year during your music ministry recruitment time is the best time, but it will work at any time of the year.
· The packets should be available at a central location on your church campus (welcome center, lobby, and information table). One of your orchestra members (or you, if possible) should hand out the packets before and after services, and be available to answer any questions. You need to have a sign-up sheet to gather information on each person who picks up a packet: Name, work and home phone numbers, Email address, instrument.
· Each packet should include all the music for that instrument, a cover letter from the director giving instructions on dress, rehearsal time, service time and suppertime. The letter also tells them that the rehearsal is a "put it all together" rehearsal. They must have their part rehearsed before they arrive.
· Make multiples copies of each instrument packet; i.e., 4 violins, 4 flutes, 1 oboe, 6 clarinets, 1 bass clarinet, etc. Make packets for all instruments. I made a packet for harp and God brought a harpist (she had her own instrument, too)!
· Serve a meal in between the rehearsal and the service on Sunday evening. If you use another time (Sunday morning, Wednesday night), you may need to modify the rehearsal/ supper/ worship schedule.
· Play up to five orchestra specials and one congregational piece. Use music that your regular group has already played. This will give your special guests confidence as they hear your players' confidence on their part. Caution: Playing too many pieces can be overwhelming to your guests. Remember that some of them have not played in years! And you want to return the next week to join your group!
· If you are just starting your instrumental ministry, two or three pieces in a mini-concert format would be a great start!

 The All-Church Orchestra (Part 2)

In the first installment of this series, we talked about the packets for the ACO (All-Church Orchestra). The next segment concentrates on Advertising.

· Utilize any and all forms of communication pieces at your church: Bible Study department newsletters, order of service, weekly (or monthly) church-wide mailouts.
· Word of mouth becomes a great communication piece for the second year and beyond. Even your orchestra will spread the word. News of the ACO may go beyond the walls of your "fortress" and draw unchurched or unsaved musicians to your church.
· Your pastor and a word from him to the church body is the best promotion you could have. If your pastor is a frustrated musician, present him with a packet of music (for his instrument, of course) during a Sunday morning service (try the welcome time). If he is not a musician, offer him a commemorative packet (dress it up with a ribbon, etc.).

The All-Church Orchestra (Part 3)

After you have set up your packets of music and exhausted your resources for advertising (or promoting), you will need to Maintain what you have done thus far.

· Check sign-up sheets after each sign-up period and replenish packets. If you do not replenish packets, you run the risk of someone wanting to sign up and not being able to because you do not have music for them. It is better to end up with extra packets of music than to possibly miss out on instrumentalists.
· You (personally) contact each signee and encourage them to play. If you've collected their Email address, use it. The best time frame to contact them is seven to ten days before the event. This allows them to ask you questions and for you to get some knowledge about them at the same time.
· Some people may need an instrument. Make every effort to find one for them. Rent if you must, but find them an instrument!
· Note: Your players do not need to pick up packets. They should have all the music in their folders and should be practicing that music in rehearsals leading up to the event.

Food

· Pass around a food sign-up list during your orchestra rehearsal at least five weeks before the event.
· Use foods that are lighter; Salads (tossed, Caesar, fruit, tuna, chicken, taco, etc.), casseroles and desserts.
· Make sure you have enough food for your guests as well as the regular group. The orchestra will be more motivated to bring food if they know how many people have signed up to play.
· Have a non-orchestra person assigned to handle the receiving and setup of the food.

The All Church Orchestra (Part 4)

Well, you done all the preliminary work. Now it's time for the main event, the All-Church Orchestra!

Setup on the Day

· You should have a good idea of how many players to expect if you have called the signees and polled your orchestra (be sure to include your regular group). Do not be disheartened if only 50 to 60% of those that signed up actually show up to play. You still have a great prospect list from the 40 to 50% that don't play!
· Set up extra chairs in each section to minimize chaos when latecomers arrive.
· Set up early. Nothing good can come from your rehearsal staring late. Draw diagrams to plot out your setup.
· Try to keep the rhythm section in the middle of the orchestra to prevent phasing.

The Meal

· This is the best time for your orchestra folks to "love on" the guest musicians. The meal affords the opportunity to begin building relationships in a relaxed environment. This may be the most important link in getting your guests into the orchestra full-time.
· Have non-orchestra people clean up after the meal. This allows the players to prepare for the service (warm-up, tune-up, prayer).

The Service

· Obviously, this is the highlight of many hours of prayer and preparation. If you can, speak a word to the congregation, explaining (briefly) what has taken place during the last few hours.
· Use this as another opportunity to invite people to join the orchestra in the future (how about next week's rehearsal?).
· Align your music to play the most challenging piece first. Remember that they have already played for 90+ minutes in rehearsal and may get tired later in the service.
· To make it an evening of instrumental music, invite an instrumental Christian artist to share the evening with you.
· Several exciting testimonies from orchestra members are a great addition. A word of caution: Even if you know the people well, have them write out what they are going to say and give it to you a week in advance. Have them read from their paper. Limit each testimony to 2 minutes (even with that they will take 5 minutes). This helps prevent "surprises" and run-on sermons (you guessed it. I've been "burned" by this one).

All-Church Orchestra (Part 5)

God was good… He blessed the service… He honored your prayers. Now, it's time to Follow Up.

· Make a prospect list. Include people that signed up but did not play in the All-Church Orchestra.
· You should make the initial contact with each prospect. After your initial contact, divide the prospects into instrument families and have your section leaders or care group leaders from those sections follow-up. This is most productive if done within a week after the event.

Evaluation

· Ask yourself the hard questions: Did it fit in the philosophy of our ministry? Was it supported (in some way) by other staff members? Was it considered a church-wide event or a night off for the preacher? Was the music too hard? Too easy? Did I have enough variety in the style of music? Was it well received by the church? Was God in it or was it just a night of good music?
· Get wise counsel from your pastor and/ or minister of music.

Now it's your turn! I want to hear from you. I'm going on a short sabbatical and want you to share your ideas with other instrumental directors. What have you done in your instrumental ministry that is worthy to be shared? We will begin an article "This Idea Will Work for Your Instrumental Group" starting in the next few weeks. It could be a one-line idea or a paragraph. Just send it to me at skirby@idlewild.org. If I receive nothing, you will see nothing.