DC Concert Orchestradcconcertorchestra.org/DCCOMembersHandbook.pdf · • Added alcohol and drug policy to “Expectations - Conduct” section • Orchestra size and management team

DC Concert Orchestra

Members’ Handbook

Version 1.1.2December 21, 2016

Document Version Control

Version Date Author Description Reason for Change

1.0 February, 2016 Bob Myers New Document Initial Release

1.1 July, 2016 Bob Myers MiscellaneousUpdates

Updates for new FY2016-17

1.1.1 November, 2016 Bob Myers MiscellaneousUpdates

Added drug and alcoholpolicy

1.1.2 December, 2016 Bob Myers MiscellaneousUpdates

Updated the attendancepolicy

Change Log

Significant changes from version 1.0 to 1.1

• Annual orchestra dues increased to $50.• Added requirement for section leaders to take attendance.• Added section clarifying Meetup member and orchestra member initiated/sponsored

events vis-a-vis scheduling conflicts, attribution, and charges.

Significant changes from version 1.1 to 1.1.1

• Added alcohol and drug policy to “Expectations - Conduct” section• Orchestra size and management team contact updates.

Significant changes from version 1.1.1 to 1.1.2

• Updated attendance requirements.

Table of Contents

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Structure and Mission. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Corporate Structure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Mission Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Open Rehearsals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Culture / Approach. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Membership. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Tenured / Core Members. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3New Member Auditions.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Dues.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Attendance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Maintaining Eligibility.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Communications.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Orchestra Configuration.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Sections Leaders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Section Members. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Waitlisted Members.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Substitute Musicians. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Solo Opportunities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Rehearsals and Concert Participation.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Concert Participation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Schedules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Locations and Directions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Expectations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Practice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Parts and Music Stands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Conduct. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Facility Usage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Artistic and Management Staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Artistic Management. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Programming and Repertoire Suggestions.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Board of Directors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Administrative Management Team. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Volunteering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Websites. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Meetup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Paying Meetup Fees.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Scheduling and RSVPing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Gateway to Chamber Music Ensembles.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Facebook. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14DC Concert Orchestra.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

DCCOS Interests. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Pictures, Video and Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Meetup Member Sponsored Events.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Supporting DCCO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Donations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Volunteering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Budget. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Introduction

Welcome prospective and current members! Thank you for your interest or participation in theDC Concert Orchestra (DCCO). This Orchestra Members' Handbook has been developed to orientyou to orchestra history, participation, standards, operations, and practices. It should addressmost all your questions. Please take the time to read it thoroughly. Prospective members, wehope you'll join us, and if you do, we know you will enjoy yourself! Current members, thank youfor your participation and dedication to DCCO.

Background

The orchestra within today’s DCCO emerged from the DC Chamber Music Players Meetup Group(founded 2007). In September, 2011, Rob Goeke, the orchestra’s first conductor, approached BobMyers, the founder of the Meetup group, about forming a chamber orchestra within the Meetupgroup; and thus the orchestra’s modest beginnings. The orchestra, then named the DC ChamberMusic Players Orchestra, held its first rehearsal in October, 2011, and its first public concert inJune, 2012 at the Church of the Holy City in Washington, DC, with roughly 25 musicians. RobGoeke left DCCO in November of 2012. During calendar year 2013, the orchestra changed its nameto DC Chamber Orchestra and operated under the interim baton of Dana McCarthy. UntilDecember, 2013, the orchestra, while experiencing modest growth, continued to operate as arather informal group, giving semi-annual concerts at the Church of the Holy City. In January, 2014, Randall Stewart joined the orchestra as Music Director. Under Maestro Stewart'sbaton, the Orchestra has experienced significant improvement in musical quality and in size aswell, growing to today's 70 musicians.

With the arrival of Maestro Stewart, it became apparent that the DC Chamber Orchestra hadestablished itself as a recognized community orchestra with long term viability. To ensure thefuture of the Orchestra, in February, 2015, an Advisory Panel was convened to explore options forsolidifying DCCO as an institution and to chart a future course for the Orchestra. On October 5,2015, the DC Concert Orchestra Society was incorporated in Washington, DC as a non-profit artsorganization, with a charitable solicitation business license and IRS 501(c)(3) tax exemption. It isthe umbrella corporation for both the DC Concert Orchestra and the DC Amateur ClassicalMusicians Meetup.

The future of the organization is bright, the orchestra has outgrown the maximum size of achamber orchestra, and appeared in May, 2016 for the first time as a full symphony orchestra atour new performance venue, The Church of the Epiphany in downtown DC. DCCOS has justconcluded its first fiscal year as a corporation, with a very successful fund-raising campaign. DCCOjust relocated its rehearsal facility to New York Avenue Presbyterian Church.

DC Concert Orchestra Page 1Orchestra Members Handbook Last Revision: November, 2016

Structure and Mission

Corporate Structure

The DC Concert Orchestra Society (DCCOS) is the corporate umbrella for two musicalorganizations:

• The DC Concert Orchestra (DCCO), and• The DC Amateur Classical Musicians Meetup Group (DCACM). This group is devoted to

small ensemble chamber music performances, both private and public. As a matter ofscheduling and membership management, all regular members of the orchestra are alsomembers of this Meetup group.

Both groups share a common Board of Directors, Management Team and Mission Statement.

Mission Statement

The DC Concert Orchestra Society brings classical music to the metropolitan region whileproviding performance opportunities and continuing education for amateur adult musicians toenjoy a lifetime of music-making. Through the DC Concert Orchestra and through public andprivate chamber ensembles, the Society seeks to provide quality performances for newaudiences and under-served populations, enriching the cultural life of greater Washington.

Open Rehearsals

As part of our mission to offer opportunities for adult amateur classical musicians to experienceplaying in an orchestra, several rehearsals are open to all Meetup members, regardless oforchestra audition or membership status. Open rehearsals provide prospective orchestramembers an opportunity to get a feel for the orchestra, for all to establish whether there is amutually good fit, and serve as an avenue for inducting new members.

The first two rehearsals of each concert rehearsal cycle – late September or early October for theDecember concert, late January or early February for the May concert – are open. Summer non-concert preparatory, “reading” rehearsals are also open. Summer rehearsal scheduling is ad hoc,but usually two or three occur in June, July or August.

Culture / Approach

The character of rehearsals is relaxed, educational, even light-hearted at times. Rather thancreating a high pressure schedule with weekly rehearsals and several concerts per year, DCCO has


bi-weekly rehearsals and offers two, sometimes three, concerts per year. This creates less demandon personal schedules, allows more rehearsals per concert, and permits a greater focus on qualityof musical product.

Although the orchestra’s membership is gated through the Meetup group, and rehearsals andconcerts scheduled via Meetup, the Meetup aspects of the orchestra end there. Attendance isimportant and RSVPs matter. Except for non-orchestra member participation in open rehearsals,rehearsals are not “come if you feel like it or it’s convenient” events. We look to the members ofthe orchestra to make a commitment toward the growth of the orchestra.

Core to maintaining the relaxed and amicable culture of the orchestra is observance of the long-standing “motto” of the organization: We’re a collegial, congenial, non-competitive group; criticismand attitude are not welcome; we appreciate everyone’s best effort. DCCO strives for a diverse,inclusive membership that nurtures adult amateur classical musicians and encourages them toappreciate and improve their musical skills.

Membership

Tenured / Core Members

Long-standing members of the orchestra, who performed under Maestro Stewart's baton ateither the May, 2014 or December, 2014 concerts, were granted tenure without audition. Newer members who auditioned on or after January, 2015, passed and have been admittedto the orchestra on a non-waitlist basis are also tenured. Tenured members are also referredto as “core” members. Core members maintain tenure as long as they continue to meet otherrequirements and regularly participate in concerts. No re-auditions are expected.

New Member Auditions

Acceptance of new members into the Orchestra is based on auditions. Passing an auditiondoes not guarantee a new member a seat at the next concert.

Auditions are held three or four months in advance of each concert. The audition call isopened five to six months in advance. There is nominally no fee to audition (a refundable $12meetup membership fee is required to book an audition however). There are a limitednumber of audition slots and they generally fill quickly. Please respond to the calls promptly. Auditions last approximately 15 minutes and are private; it will be you and the Music Director,along with the section leader and a guest judge, at the Music Director's discretion. Auditionrequirements consist of two different concert scales - two or three octave range - selected bythe Music Director from an announced list of several key signatures; two pre-selected


orchestral excerpts, one excerpt of music selected by the audition candidate; and sightreading.

Relax. Like the group, this is going to be easy-going. This will NOT require a lot of preparation. The goal is to ensure that people can be successful and placed properly within the orchestra. Growth for the whole group is desired and expected, so the most difficult passages are notpart of auditions – everyone needs time to grow into them! You will be personally informedby the Music Director of your audition results generally within two weeks or less. Auditioncandidates will fall into one of the following categories:

• Core member - admitted to the orchestra, immediately eligible to participate in the nextconcert.

• Waitlist - admitted as a member of the orchestra, but seats in your section are notimmediately available. You may be called up later, either as a mid-season fill-in for a playerunable to complete a concert rehearsal cycle, or for a later concert. You may also be calledupon if specific concert programming calls for enlargement of your section. Waitlistedmembers may gain core status through attrition of core orchestra members or throughpermanent section enlargement.

• Invited to re-audition - not admitted to the orchestra at this time.

Dues

Members of the orchestra must keep their Meetup membership dues current. Dues arepayable at the time of joining, and annually thereafter. The Meetup system will sendreminders on your anniversary date. Meetup dues are $12 per year and payable on the DCAmateur Classical Musicians Meetup home page – middle, left hand side, click the blue $12and you can pay via credit card through WePay. Keeping these dues current is critical. Lapsesover two weeks result in the Meetup system moving you to a suspended status and will voidyour RSVP’s to all rehearsals or other non-orchestra Meetup events. Late payment willreinstate your membership, but will not reinstate your RSVPs, and could lead to rehearsalstaffing confusion.

To participate in one or more concerts within a given season (our fiscal year and season runfrom July 1 through June 30), members must also pay orchestra dues; yes, these are in additionto the $12 Meetup dues. These dues, for the 2016-17 season, are $50 and are payable at theorchestra’s private website www.DCConcertOrchestra.org. You will need a UserID andpassword to access this website. See more on that under Websites. Payment is throughPayPal. DCCO does not keep any credit card information. Dues are payable on or before thefirst rehearsal of the first concert in which you are confirmed for participation. Promptpayment is expected and eligibility for participation may be at risk for failure to pay these dues.


http://www.DCConcertOrchestra.org

Exceptions may be made at the discretion of management. If you have challenges withpayment of these dues, you may e-mail [email protected] to discuss. Allsuch information will be kept in confidence.

DCCOS is a 501(c)(3) tax exempt organization. All dues payments are tax deductible.

Attendance

For each regular season full orchestra concert, there are seven regular rehearsals plus a dressrehearsal. Attendance at the dress rehearsal is mandatory. Members are expected to makeevery effort to attend all regular rehearsals, but must, at a minimum attend five (5). Exceptions to attendance requirements may only be made at the discretion of the MusicDirector. Exceptions made for one individual, often based on rehearsal needs and musicalquality assessment, do not set a precedent granting exceptions to others. Each exception isevaluated on a case by case basis. Please e-mail requests for exceptions [email protected] with a copy to [email protected]. Seemore under Rehearsals and Concert Participation.

RSVPs to rehearsals and concerts are very important. If you have a last minute change in yourability to attend a rehearsal or concert, please change your RSVP as appropriate, or call/textthe orchestra manager at 202-730-6146. No shows are tracked and can adversely affect yourmembership status. See more on RSVPing under Websites.

Additionally, section leaders may periodically convene sectional rehearsals outside regularorchestra rehearsals. Section leaders will contact section members and work to schedule arehearsal which maximizes participation. Members are asked to make all best efforts to attendsectionals.

Maintaining Eligibility

Core members of the orchestra maintain their status by adhering to the following:

• Keeping Meetup dues current• Keeping Orchestra dues current• Meeting attendance requirements• Abiding by orchestra expectations (see Expectations below)• Performing regularly with the orchestra, i.e. missing two consecutive full orchestra concerts

will require re-audition and/or placement in waitlist status.


mailto:[email protected]



Communications

The primary means of communication for DCCO are our websites and e-mail. Many consider e-mail an outdated means of communication, but it is vital for DCCO. Texts, phone calls and IMsimply cannot adequately support the volume of content or type of broadcasts needed. Uponjoining, please ensure that the orchestra manager has your personal e-mail address. If you usemultiple e-mail accounts, please provide the account which you check most frequently. Manycommunications are time sensitive. Please See Websites below for further information regardingthem, and registering additional points of contact.

You will receive e-mails from DCConcertOrchestra.org, Meetup, and individuals within theorganization. Please ensure that your spam and junk filters are set to permit receipt of e-mailsfrom these addresses. We cannot be responsible for e-mails dumped into your spam or junkfolders which you never receive, or read much later.

Orchestra Configuration

For the May, 2017 concert and beyond, the target configuration for performing members ofthe orchestra is

• 16 Violin 1 • 4 Trumpet• 14 Violin 2 • 4 Horn• 12 Viola • 3 Trombone• 10 Cello • 1 Tuba• 6 Double Bass • 1 Harp• 3 Flute (1 piccolo) • 1 Timpani• 3 Clarinet • Additional percussion, as needed• 3 Oboe (1 English Horn) • Keyboard, stand-by• 2 Bassoon (1 Contrabassoon) • Other, as needed

To the extent possible, each section is kept fully staffed, with additional waitlisted musiciansavailable to fill in temporary vacancies which arise from time to time, or to augment a sectionas necessary. Some sections may have more core members than a section can accommodatefor a given concert. See more information under Rehearsals and Concert Participation.

Sections Leaders

Section leaders, and if deemed appropriate, assistant section leaders, are designated by theMusic Director. Depending on the section, section size, and the tenure of existing sectionleaders, auditions may be required. If such auditions are necessary, they will be announcedand any core section member may audition. Bear in mind, while section leaders are strong


players, designation as section leader is not an indication that the selected individual isnecessarily the best player. Section leaders are chosen based on a combination of musicalability, experience, management skills, and understanding of orchestra operations. Sectionleaders are tasked with assigning parts, including solos; taking section attendance, arrangingand leading sectionals as appropriate; selecting and activating waitlisted musicians ifnecessary; conferring with the Music Director regarding assignments, interpretations, andother musical matters; conferring with the Orchestra Manager regarding staffing andadministrative affairs; and other duties as needed.

Section Members

Core orchestra members are considered members of the section for that instrument/part theyplay. Waitlisted members, while aligned with sections, are not considered section membersuntil activated by a section leader or the Music Director.

Waitlisted Members

As mentioned in Auditions, waitlisted members for a section may be called up to fill invacancies which emerge during a rehearsal cycle, or to augment a section as dictated byconcert programming. With the membership of most sections already filled by core members,waitlisted members generally become core members through attrition of core regular sectionmembers. Permanent section enlargements may create new vacancies for waitlisted membersto fill. To be clear, waitlisted members are not considered core members.

Section leaders do not need to consider waitlisted members in their concert planning, unlessthey have a specific need to activate a waitlisted member. If there are multiple people on thewaitlist for a particular section, the selection is at the discretion of the section leader, inconsultation with the Music Director if appropriate. Once activated, a waitlisted member shallbe considered a section member until the conclusion of the upcoming concert, after whichtime, they may be returned to the waitlist. Depending on when a waitlisted member isactivated, attendance requirements may be waived; such waivers do not create a precedentfor exceptions to attendance by core orchestra members.

Substitute Musicians

From time to time, critical musician gaps for a planned concert may emerge. These may befilled as needed, with guest (unpaid amateur) and ringer (paid professional) musicians. Suchmusicians will only be retained if the gap cannot be adequately filled by core or waitlistedmembers. Given the nature and timing of these critical gaps, attendance requirements forsubstitute musicians are often waived, such waivers do not create grounds for exceptions tocore orchestra member attendance requirements.


Solo Opportunities

As mentioned in Section Leaders, section leaders will assign prominent solos within orchestralpassages, in consultation with the Music Director if necessary. From time to time, the MusicDirector may choose to sponsor solo concerto (or concerto-like) auditions. All core membersof the orchestra are eligible to audition, within the guidelines of the audition call.

Rehearsals and Concert Participation

Concert Participation

No later than one month prior to the beginning of a concert rehearsal cycle, a call will go outto all core orchestra members soliciting interest in participating in the upcoming concert. Coremembers are expected to promptly state their intent to perform in the next concert; adeadline for the call will be provided. Failure to respond to the call by the deadline may resultin loss of the opportunity to play in the upcoming concert. In the event there are more coremembers than needed in a given section, the order or response will determine the acceptedparticipants for that section, so responding promptly is advised.

Arrangements for waitlist activations, new member auditions, and substitute musicians mustbe made early in the rehearsal cycle, and are predicated upon the response rate of coremembers to the initial call. After the call, participants are selected in the following order:

• Waitlisted members• Successful audition candidates• Substitute musicians

Core members who respond after the initial call will be considered based on the order ofreceipt and only be accepted if there are available seats in their section at the time of theirresponse.

Schedules

Regular full orchestra concerts are scheduled for Sunday afternoons at 3:00 p.m. in mid-December and mid-May. Once the performance dates at the selected venue are confirmed,the rehearsal schedule is mapped out. Dress rehearsals are scheduled for the Saturdaymorning immediately preceding the concert date, from 10:00 a.m. to 1:00 p.m. Each concerthas seven regular rehearsals. Regular rehearsals are scheduled for Sunday afternoons from2:00 p.m. to 4:30 p.m. Rehearsals for the December concert start in September; and for theMay concert, in late January or early February. Rehearsals are generally every two weeks,


although dodging Federal holiday long weekends, other major holidays, and special events mayoccasionally alter that.

Schedules are mapped out early, and will be announced at least one month, usually two, priorto the commencement of the rehearsal cycle. The announcement will include a link to the firstrehearsal, and at the bottom of each rehearsal event, there’s a chained link to RSVP for thenext one. Please RSVP for any/all rehearsals you plan to attend, please RSVP NO to the onesyou cannot make. Adjustments to RSVPs may be made later based on your personal schedulechanges or concert participation status. To the extent possible, please make every effort toadapt your schedule to the orchestra’s rehearsal schedule. It’s critical to performance qualitythat everyone attend as many rehearsals as possible.

Locations and Directions

Currently DCCO regularly uses three venues:

Orchestra New York Avenue Presbyterian Church (NYAPC)Rehearsals at 1313 New York Ave., NW.

Washington, DC 20005

– Directions Mid-block, north side of New York Ave. NW between 13 andth

14 St. Entrance is at street level (NOT up the outside staircase).th

Enter, announce yourself to the receptionist, and bear left to theelevators and go to the 5 floor. Plentiful street parking should beth

available on Sundays, and it’s free. Commercial lot in the 1300 blockof G St., one block south (about $16). McPherson Sq. Metro stop 1-1/2 blocks to the NW at 15 & I Sts., NW., with service for Blue,th

Orange and Silver lines. Metro Center 1-1/2 blocks to the SE at 13th

& F Sts., NW., with service for the Red, Blue, Orange and Silver lines. Gallery Place-Chinatown Metro stop 7-1/2 blocks to the SE at 7 &th

F Sts., NW., with service for the Green, Red and Yellow lines.

Orchestra Church of the EpiphanyConcerts at 1317 G St. NW.


– Directions Mid-block, north side of G St., NW., between 13 and 14 Sts., NW. th th

Commercial parking widely available, lot immediately adjacent tothe church ($16 on Sunday). Free street parking should be plentifulon weekends. See Directions for NYAPC above for (the same)Metro stop information.


Chamber Music Church of the Holy CityConcerts at 1611 16 St., NW.th


– Directions Corner of 16 & Corcoran Sts., NW. Enter through the smallth

doors to the right. Street parking is difficult, recommend adding 15to 20 minutes to drive time to find a parking spot. Commercial lotsavailable in the area, $10 to $20. Public transport recommended. Several Metro bus 16 St. lines stop directly in front of the church. th

4 blocks east of the Metro Red Line Dupont Circle Station Q St. exit. 5 blocks south and west of the Metro Green Line U St. Station.

Other venues may be used from time to time, such as for auditions. Directions will be providedas appropriate.

Expectations

Practice

It is left to each musician to determine the style and amount of practice appropriate for themand their instrument. But practice is expected; DCCO is not a sight-reading orchestra. We arecommitted to quality rehearsals and performances. Management expects that each musicianwill arrive at each rehearsal as fully prepared as possible, including markings for parts providedby your section leader.

Parts and Music Stands

Rehearsal facilities generally do not provide music stands. Please bring a music stand to eachrehearsal, unless you have firm arrangements to share a stand with another member of theorchestra. Extra stands are in very short supply. Our current concert venue does providemusic stands. Highly recommended you bring a battery operated clip stand lamp to the dressrehearsal and concert.

Links to electronic copies of all parts are provided well in advance of rehearsals. Markings forparts (e.g. bowings) will be provided by section leaders directly to their section members. Most music is public domain and will be available via IMSLP.org. Links are embedded in theevent listing on Meetup. Parts under copyright are available at www.DCConcertOrchestra.org. You must have a username and password to access parts on this website. Please see morebelow under Websites.


http://www.IMSLP.org


Each musician is expected to print and bring their parts to rehearsal. This saves costs andmakes library management easier. If you are printerless, you may request hardcopies of yourparts from the music librarian, Cassie, at [email protected]. All requests forhardcopy must be received no later than noon of the Thursday immediately preceding therehearsal at which you need the music.

Conduct

The “motto” developed for the original Meetup group applies to the orchestra as well: “We’rea collegial, congenial, non-competitive group; criticism and attitude are not welcome, weappreciate everyone’s best effort.”

It’s OK to help your fellow section members keep focus, e.g. point out missed accidentals,missed rests, early or late entrances, etc. But please direct any concerns you have about theskills or quality of play of other orchestra members to your section leader or the MusicDirector. While we are a non-professional orchestra, our hope is that we will conductourselves in a manner comparable to professional orchestras. Non-musical concerns aboutfellow musicians may be brought to the attention of the Orchestra Manager.

Harassment or demonstrable demographic bias of any kind is grounds for immediate dismissal,at the discretion of the Music Director or Orchestra Manager, without discussion or mediation.

Consumption of alcohol, marijuana or other intoxicants – legal or otherwise – during rehearsalsor concerts is prohibited. Consumption prior to is highly discouraged. Attending rehearsalsor concerts in an impaired state may result in removal from the rehearsal or concert, and areview of eligibility for membership in the organization.

Facility Usage

DCCO rents rehearsal and concert space, at very modest rates, at (semi-)public venues. Often,other activities are on-going in the same building, e.g. church services, yoga classes,meditation, etc. When moving around the building outside the immediate rehearsal or concertspace, please respect the quiet and privacy of other groups using the building. Talk quietly,or take conversations outside. Please treat the facility as you would your own home. Leaveit in the same condition you found it. Remove all personal belongings, dispose of trashproperly, mop up condensate from wind or brass instruments, and limit consumption of foodand beverages; bottled water is always OK. Food offerings to share with fellow orchestramembers are welcome, but please check with the Orchestra Manager first, and be preparedto clean up any mess left behind.



Artistic and Management Staff

Artistic Management

The Orchestra rehearses and performs under the baton of Music Director Randall Stewart,DMA (Orchestral Conducting, Catholic University). Maestro Stewart has been DCCO’s MusicDirector since January, 2014. You may learn more about Maestro Stewart by visitinghttp://www.randallstewartconductor.com/.

Programming and Repertoire Suggestions

Rehearsal and concert programming is entirely at the discretion of the Music Director. Maestro Stewart welcomes repertoire suggestions from all members of the orchestra. Suggestions may be sent to [email protected]. Please bear in mind manyfactors go into programming such as instrumentation, program context, degree of difficultyand more. Your suggestions will be given consideration in light of these factors.

Board of Directors

The Board of Directors of the DC Concert Orchestra Society provides financial backing andstrategic guidance and direction for the orchestra. Members should feel free to approachboard members to discuss (non-music related) ideas for, or concerns about, the orchestra. Forthe 2015-16 season the board membership is as follows:

• Jack Aubert, Secretary, term expires 6/30/17• Yolanda Cole, term expires 6/30/17• Katherine Mariska, Concertmaster, ex officio• Bob Myers, President, term expires 6/30/18• Randall Stewart, Music Director, ex officio

Administrative Management Team

In addition to the Music Director and Board of Directors, several volunteers serve as theadministrative management team:

• Executive Director: Bob Myers, [email protected] Also serves as Webmaster for www.Meetup.com/ACM-DCCO

• Treasurer, George Clarke, [email protected]• Music Librarian, Cassie Conley, [email protected]• Jack Aubert, Webmaster for www.DCConcertOrchestra.org• Robert Loo, Webmaster for www.Facebook.com/TheDCCO and DCCO.


http://www.randallstewartconductor.com/



http://www.Meetup.com/ACM-DCCO




http://www.Facebook.com/TheDCCO

Volunteering

With the exception of a modest honorarium paid to the Music Director, DCCO is an ALLvolunteer organization. There is a surprising array of support activities that goes into makingrehearsals and concert work. Above and beyond playing your instrument, DCCO can onlysurvive and thrive through the volunteer efforts of its members. Please see more underSupporting DCCO below.

Websites

DCCO has three websites to support the activities of its component groups.

Meetup: www.Meetup.com/ACM-DCCO

Webmaster: Bob Myers, [email protected]

This Meetup website is the “front door” to both the DC Concert Orchestra and the DC AmateurClassical Musicians Meetup Group. All events, both orchestra and small ensemble, are postedand scheduled here, and the overarching group membership and event attendance managedthrough Meetup. The Meetup website is predominantly a private website for Meetupmembers only. For orchestra members, this website if critical for two purposes.

Paying Meetup Fees

To maintain membership in the orchestra, you must maintain your underlying membershipin the Meetup group. Dues are $12 per year, and are payable at the time you join, andannually thereafter. On full browser displays, at the home page of the Meetup group, onthe left hand side is a section called “Member Dues.” Click on the blue $12 and you will betaken to a WePay interface where you can pay by credit card. On mobile devices lackinga full standard web browser, the location of the dues payment option may vary, or notappear at all.

It is critical that orchestra members keep current on their Meetup dues. The system willsend you reminders as your anniversary date approaches. Please do not let yourmembership lapse. If it does, the Meetup system will move you to a suspended status andvoid all of your current RSVPs. You will be unable to receive broadcast updates on eventsas well. If this happens, it causes problems for event attendance management. Once youhave paid your dues in arrears, you will have to RSVP for everything again.


http://www.Meetup.com/ACM-DCCO


Scheduling and RSVPing

All orchestra rehearsal and concert events are posted on Meetup. Broadcast notices ofnewly posted upcoming events will go out via Meetup. For regular rehearsals, thecomplete series of dates for the upcoming concert cycle will be posted at once. PleaseRSVP to ALL events in the series, both Yeah and Nay (RSVP’s of “No” are much more helpfulthan no RSVP). You can change them later if necessary, as circumstances dictate. Thishelps management with advance planning. To make RSVP’ing to event series easier, at thebottom of the description of each event is a link to the next event in the series.

Gateway to Chamber Music Ensembles

Of course, all members of the orchestra are also members of the DC Amateur ClassicalMusicians (small ensemble Chamber Music) Meetup group. Please feel free to participatein any of the non-orchestra events you’d like. In addition to the “parlor play” events, theparent organization DCCO Society sponsors one or two public Chamber Music recitals perseason, as well as outreach type performances at nursing homes, schools, and otherlocations reaching under-served audiences.

Facebook: www.Facebook.com/TheDCCO

Webmaster: Robert Loo, [email protected]

The Facebook site is one of the DCCO Society’s two public websites. It contains generalinformation on the organization, photos, and promotional materials on upcoming events. Ifyou are a member of Facebook, please sign up as a member of the DCCO facebook page and“like” DCCO. Please promote our upcoming concerts via Facebook; members of the public canRSVP for events – we need to build our audience!

DC Concert Orchestra: www.DCConcertOrchestra.org

Webmaster: Jack Aubert, [email protected] Asst. Webmaster: Robert Loo, [email protected]

This website has both a public and private side. It is the principal site for managing alladministrative orchestra membership matters, other than rehearsal scheduling. To access theprivate side of the site, you will need a UserID and password. The Webmaster can assist youwith acquiring a UserID and default password. There is a separate User Guide for orchestramembers (in development). Quickly summarizing member features and highlighting some ofthe more important one:


http://www.Facebook.com/TheDCCO






• Donations: Tax deductible donations may be made to DCCO, not only by you, but byyour supportive friends, family and employers. Direct them to the website to makedonations.

• Registration: All orchestra members are implored to register all their contactinformation. We need your regular, direct e-mail address, phone, and mailing addressso that we do NOT have to rely on (the often unreliable) Meetup messaging service tocontact you, and to send you file attachments which cannot be sent through Meetup. See more under Communications. Your information is for the exclusive use of DCCO;DCCO neither sells nor shares its mailing lists or contact information

• Parts: Parts for music under copyright are stored here. This is self-serve, they will notbe mailed to you. As a convenience, links to copies to music parts in the public domainare listed here as well.

• Documents: This Handbook, along with User Guides, and the DCCO’s foundationalcorporate documents and financial reports and filings are available here.

• Media: Libraries of photos, audios and videos are available. Audios and videos are forprivate consumption – no reposting – unless indicated otherwise.

• Rehearsal Schedule: A summary recap of the rehearsal schedule for the upcomingconcert cycle.

• Contacts and Mailing Lists: Various e-mail addresses and distribution lists are availablefor you to contact your fellow orchestra members and the management team.

DCCOS Interests

Pictures, Video and Audio

By participating in DCCO rehearsals and concerts, you consent to your image being used on ourwebsites and for possible promotional material. DCCO does not name- or geotag individualsin photos, and will seek your permission before captioning a photo with names.

Rehearsal and concert participants are welcome to take personal pictures, audio and video fortheir personal enjoyment. We ask, out of consideration for your fellow musicians’ privacy, thatyou not geotag your media, and do not name-tag or caption a photo with names without thepermission of the individuals in the image(s). We encourage you to share event photos on theMeetup event webpages. Posting to other DCCO websites and/or audio or video is controlledthrough the respective webmasters.

Audio and video produced by DCCO or posted to DCCO websites are, or become, the propertyof DCCO. They are there for the enjoyment of the membership. Reposting to other websitesor storage in shared cloud services is not permitted without the consent of DCCOmanagement.


Meetup Member Sponsored Events

This section pertains to events and public performances which are not initiated by, or directlysponsored by, the management of DCCOS. This is to ensure the viability of events, and protectthe reputation and financial integrity of DCCOS.

Scheduling: The larger organization thrives on the membership’s privately sponsored chambermusic events posted on the Meetup website. As has been the case since the inception of theMeetup group, the Meetup organizer works to avoid scheduling conflicts between events. Management reserves the right to refuse to post a non-DCCO-management sponsored eventif it conflicts directly or indirectly with an orchestra rehearsal or chamber music concert, orwith other non-DCCO-management sponsored events.

Public Performances: Meetup and orchestra members are encouraged to take their playingskills and performances “on the road.” Programs and promotional material for suchperformances may refer to the performers’ common membership in DC Amateur ClassicalMusicians Meetup group and may include a hyperlink to www.meetup.com/ACM-DCCO. However, such material may not indicate sponsorship by the DC Amateur Classical MusiciansMeetup, or reference the DC Concert Orchestra (Society) in any way, without first seekingmanagement and board approval.

Event Charges: All member events posted to Meetup must be free of charge. Fees chargedwhich inure to parties other than DCCOS proper create potentially serious tax consequencesfor DCCOS’ 501(c)(3) charitable, non-profit status.

Supporting DCCO

Donations

DCCO is a young organization, in the process of developing outside funding. Membership duescover only 40% of the annual budget. Audience contributions at concerts provide perhaps10%. We look to orchestra members and the Board to provide the balance of funding, through“basket” contributions at rehearsals, or more importantly, through larger, direct donations viathe DCCO website. Individuals who make tax deductible contributions of $50 or more in thetwelve months preceding a concert are acknowledged in concert programs as follows:

• Nickel: $50 - $99• Bronze: $100 - $249• Silver: $250 - $499• Gold: $500 - $999• Platinum: $1000 or more


http://www.meetup.com/ACM-DCCO

Donations will be acknowledged shortly after receipt. Near the end of the calendar year, DCCOmanagement will send an official thank you, on letterhead, suitable for use as proof of a taxdeductible contribution.

Volunteering

As mentioned above, DCCO is an ALL volunteer organization, and a lot of work goes intoarranging rehearsals and staging concerts. Every volunteer effort, no matter how small, is notonly greatly appreciated, but very much needed. Below appears a fairly exhaustive list of thetypes of activities or areas that need support. Even if you only think you might have someexpertise in these areas or can support them, please consider contacting the OrchestraManager at [email protected] to discuss.

• Fundraising – REALLY IMPORTANT!• Event logistics • Hospitality, e.g. receptions, wine tastings, etc.• Grant writing• Legal advice• Program and Poster Production• Advertising, Media, PR• “Sexton” services (supervising facility usage)• Website support• Other back office administrative support (receipts, thanks yous, other mailings)• Committee membership, e.g. fund-raising, personnel, other TBD

Budget

Through the 2014-15 season, DCCO managed to scrape by on roughly $3000 per year. Withthe enlargement of the orchestra and a move to newer, more accommodating facilities, thetarget budget for the 2015-16 season was $10,000, and the FY closed almost exactly on target. For the 2016-17 season, the budget is $14,500. You can see interim financial reports andfilings on the DCCO website referenced above.

