EAR #28 - PIVOT

EAR - a newsletter for choral pedagogues

EAR #28

Dear choral colleagues,

We are heading into the 2022 Edition of PIVOT, the mentorship program by the Canadian League of Composers, and our next series introduces each composer. First up is Karen Donaldson Shepherd, from Edmonton. I just worked with her as part of Pro Coro’s partnership with MacEwan University.

I have worked with each of the composers over the last months, looking at choral scores and notation, and listening to sound examples. It is very interesting to witness the commitment of the 6 participants as they practise the vocal techniques and record themselves to understand the possibilities. The challenge then is often how to translate these sounds into notation. I have received all 6 scores this week, and it’ll be an exciting adventure to study, teach, and conduct the works. Check here for the previous edition of PIVOT.

There is still one concert with Pro Coro Canada before we start with preparations for Before The West in May. The Good Friday concert on April 15 has two premiers on the program: The Eclipse by Allan Bevan and Stabat Mater by Nicola Smith Burnett. I hope you have a chance to tune-in or come in-person.

With my best wishes,

Michael Zaugg

PIVOT Composer Spotlight:

Karen Donaldson Shepherd

Karen Donaldson Shepherd is an Indigenous (Nihiyaw/Cree) singer, songwriting, violinist, musician, and composer living in Edmonton, Alberta. She is enrolled in the Bachelor of Music in Jazz and Contemporary Popular Music program at Macewan University as a Composition Major.

She has travelled to South Africa, The Netherlands, Belgium, the United States, South Korea and Malaysia performing both as a soloist and in various musical groups in the past 2 decades.

She formed a folk group called, “The Crow Girls” and was awarded a 2008 Native American Music award for Best Folk Album.

Her original music scores have appeared on short films and documentaries, including Nathaniel Hehir’s “The Stonekiller”(2020), and Chehala Leonard’s documentary, “Living a Legacy”(2021).

She has also worked on an arrangement for Laura Vinson’s song, “Meegwitch”. This arrangement is a four-part harmony, with melody, for a small choir. This is featured in the documentary “The Awakeners” (AMI)

karenshepherdmusic.ca

1 - Major musical influence (either a style or a personality)?

This is difficult. I loved Mendelssohn's Violin Concerto, and used to listen to it to help me go to sleep when I was a teenager. I'm a big fan of The Cranberries. I love Dolores O'rioden's voice. I love the American Indigenous group - Ulali. I'm writing a big band arrangement in the Count Bassie style, and I love it. Laura Vinson is one of my favorite singer songwriters.

2 - What is your favourite instrument to write for?

This is also difficult. I trade off with voice/violin/viola/and harp, Indigenous drum, and the Korean Gayageum. I have all these instruments and I would like to hear them in my compositions. I'm learning the piano, and don't like it as much, at least my own playing. I also love me a great guitar sound, and horns, and woodwind instruments. Also, I love the cello. Oh, and the harpsichord. Someday soon I'd like to learn the hammered dulcimer.

3 - Where do you write your music?

Everywhere.

4 - Would you rather read the book before the movie or after?

Anything by Jane Austen is always more satisfying to read. Lord of the Rings, I loved the movies and loved the books equally. For both of these examples, the music is what held my attention and I could easily just listen to the soundtracks by themselves.

5 - Are you an early bird or a night owl?

I'm going to work on some music after I finish with these questions, and it's 10:30 pm. So, I suppose I'm a night owl for now.

Join us on Sunday, May 15 at 3PM and be part of the newest trends in Canadian choral music through this collaboration with the Canadian League of Composers and the emerging artist program, PIVOT.

In-person tickets will be available soon!

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