Interview with Julie Souin of Virtual Choir 3.0

When I wrote for Suite101, I had the opportunity to interview Julie Souin from Eric Whitacre's Virtual Choir 3.0 to discuss Eric Whitacre, DCINY's Sing with Eric and Virtual Choir.

Julie Souin of Rhode Island, USA, recorded four voice parts to Eric Whitacre's Virtual Choir 3 project: “Water Night”. A total of 3,746 videos were submitted by singers from around the world. Souin sat down with Suite101 on April 25, 2012 via Skype to talk about Eric Whitacre's music, Virtual Choir and Sing With Eric.

Julie Souin on Recording Virtual Choir 2 and 3

“I obsessed over my recording with Sleep,” she recalled. “It wasn't good enough. No, I could do better.” She recorded 50 times before submitting her final video for VC2.

“I knew that it wasn't great and I could probably do even better; but it was the best I could do at the time, with the equipment that I had.” With a triumphant voice, followed by a hearty chuckle, she added, “I just felt like I conquered the world when I pressed 'Submit.' ”

Julie felt more relaxed while preparing for VC3, but had other challenges to contend with. “I had all the external issues, like my dogs making noises.” In another take, it was someone else. “My kids came home right as we're holding that last note. I'm holding one hand up to the door as they got the key in the door making a chick-chick-chick...I still submitted it!

“I think with Sleep, I would have never done that. I would have said, 'I wrecked it at the end.' With this, it was 'No, it's an OK recording'. I think I was much more forgiving with those kinds of things the second time around, knowing that a lot the little tiny things don't matter.” Turning reflective, she said, “But you do want to bring honour to the whole project and you want to bring honour to yourself in submitting the best possible production.”

Julie Souin on DCINY's Sing with Eric

In 2011, Julie's daughter auditioned and was selected to sing at Sing with Eric. This annual workshop is presented by Distinguished Concerts International – New York. “At the parent meeting,” she recalled, “I kind of jokingly said, 'Do you take parent singers?' The guy said, 'See me afterwards. I actually have a spot for you.' ” With a laugh, she added, “I was freaking out. Not only do I get to go hear this music live but now, my daughter's participating; and now I'm participating. It was a dream come true.”

Julie enjoyed herself so much that she participated again in Sing with Eric 2012, which was held March 30 – April 1, 2012 in New York, NY. Three days of intensive rehearsals with Eric Whitacre culminated with a performance at the prestigious Carnegie Hall. “To sing with the composer and to sing the music as closely as it's intended to be sung – to the best of your ability – is really a dream come true.”

Julie Souin on The Virtual Choir's Online Community

“So much of this is hard to put into words,” Julie said. After some thought, she elaborated, “The relationships that have blossomed out of this are, I feel, as real as the people I have met in real life. The people that I haven't – that I only know virtually, whether it's Google Hangouts or Skype or typing – they're like, real friendships and I would have never expected that. It was a very unexpected perk.”

Julie is full of admiration for her Virtual Choir friends. “These friends are artistic, very open people. Open to share of themselves. To give of themselves...They're very loving people.”

In addition to singing in Virtual Choir, Julie is a member of the Virtual Choir Army, a small group of singers who helped fellow VC members as they prepared their submissions. “My son is on his first deployment in Afghanistan,” she shared. “Helping people gather the courage to learn “Water Night” for VC 3.0, record and upload videos was extra rewarding. I really needed a healthy distraction from thinking about my son and his safety. Reaching out to others as well as learning and memorizing the music for our Carnegie Hall concert was just the thing. I am so grateful.”

The Water Night Premiere and Meeting Virtual Choir Members in New York

The world premiere of Virtual Choir 3.0: “Water Night” took place on Monday, April 2, 2012. It was fast on the heels behind Sing with Eric as well as the release of Eric Whitacre's latest CD, also entitled Water Night. Julie Souin attended both events.

“I'm sitting with all these people who have this vested interest,” she recalled. “A lot of them sang in the Virtual Choir. Everybody is heavily anticipating this moment and to watch it in the same room with all of them was really special.”

Another highlight for Julie was the opportunity to meet fellow Virtual Choir members in person. “Oh my gosh!” she gushed. “That was a cool thing itself. I spent a lot of time with Jack [Rowland] because we're really good friends. I picked him up at the airport. It was like we have known each other our whole lives from the get-go. From the second I saw him, there was this comfort level like a brother and sister.

“It wasn't until after the concert at Carnegie Hall and there was the rest of the gang all waiting. I met up with them and that moment was completely unreal. I saw Jack, Lynna [Schaefer] and Kevin [Callahan] and Jen [Christensen]. Then Dennis [Scannell] and Maria [Petrova].

“There were other people that joined us that I didn't know as well or I haven't known as long. The entire gang, no matter who showed up, whenever we went out or we were together, everybody was like one big happy family. It was almost like we had known each other since high school and we were having a high school reunion.”

Julie Souin on Meeting and Working with Grammy Winning Composer Eric Whitacre

When Suite101 asked “What is Eric like in person?” Julie quickly replied, “Special. Really, he's special. Not just the music he creates, but as a person. He really is super-grounded, down-to-earth, very genuine. Everything that you see in interviews? It's real.

“He's very respectful to each person he meets. He gives each person as much time as he can possibly give, in whatever situation they are approaching him.”

Julie firmly believes that Eric Whitacre's personal qualities come through in his music. “You feel that sincerity when you hear his music.”

Julie Souin on Eric Whitacre's CD Water Night

One of Julie's favourite tracks is “When David Heard”. “I can't imagine that you can make a piece that long out of so few words and it remains interesting; and you feel what the parent would feel if you were in that situation. It makes you feel something deep down. It really reaches the soul.”

When asked about the CD, Julie answered in revered tones. “I love it. It's everything I hoped it would be and thought it would be. Probably more.”

Originally published on Suite101.com on May 26, 2012. All rights reserved by Rhona-Mae Arca.

Understanding Musician Injuries

Musicians are prone to injury from repeating a motion countless times when practicing. A better understanding of music injuries is vital for musicians' health.

Common symptoms of a musician repetitive strain injury are similar to computer-related and speech-related injuries:

• Numb fingers, arms, wrist, jaw, neck, shoulders and back

• Shooting pain up the arms, shoulder and back

• Cramping muscles or stiffness

• Dull ache experienced in the fingers, arms, back, jaw, throat, wrist, shoulders and back

• Hoarseness

If left unchecked, can become chronic conditions. They can potentially lead to long-term disability or end one’s musical career.

Common Types of Music Injuries

Common music-related injuries include:

• Bursitis: inflammation of a bursa (fluid-filled sac which lubricates the movements of tendons, muscles and bones at joints)

• Carpal Tunnel Syndrome: inflamed or irritated hand flexor tendons

• Larynx Contact Ulcers: raw sores on the mucous membranes covering the cartilage attached to the vocal chords

• Cubital Tunnel Syndrome: inflamed or irritated tendons affecting the inner side of the forearm and the pinky side of the hand

• Laryngitis: inflammation of the larynx

• De Quervain's Tenosynovitis: inflammation of the tendons on the side of the wrist beginning at the base of the thumb.

• Tendinitis: inflammation of the tendons

• Thoracic Outlet Syndrome: compression of the thoracic outlet, the nerve pathway and/or blood vessels between the base of the neck and the armpit

• Trigger Finger: inflammation of the index finger tendons

• Vocal Nodules & Polyps: small, inflammatory or fibrous growth on the vocal cords of people who strain their voices.

How Music Injuries are Caused

1. Overuse: Advanced musicians practice between one to ten hours a day.

2. Repetitive Strain: Musicians repeat a technical exercise or section of music countless times until it comes together.

3. Improper Posture: Some musicians slouch, sit too close or too far from their instrument and remain in the same position for long periods of time.

4. Non-Ergonomic Technique: Some musicians hold their body and/or instrument in an uncomfortable position, don’t move their hand and/or body in the direction that their fingers are moving, push their fingers or vocal chords beyond what they can comfortably do.

How to Prevent Music Injuries

Do Your Research: Find out more about the various types of music-related injuries.

Assess Your Instrument: Is your instrument the right size, shape, weight and height for you? Would an adjustable chair, footstool, strap or cushion make you more comfortable?

Know Your Body: Choose pieces that are reasonable for your body to play. If you have small fingers, playing repertoire that requires you to stretch beyond your finger span is a recipe for disaster. However, if you really want to learn a particular piece (or you need to learn it), make adjustments to make it easier to play. If you are a student, let your teacher know right away whether a piece or technical exercise is causing you pain.

Appraise Your Playing Technique: Is your body relaxed? Are your hands, arms, neck, head and core positioned to allow for fluid and comfortable playing or singing? Are you moving with the music? Are you using excess movements? Is your fingering logical and comfortable? Videotaping yourself is a valuable method to assess your playing technique.

Evaluate Your Non-Musical Activities: Desk and computer work, sports, dancing, carrying heavy objects (or dependents) and hobbies can adversely affect your body.

Do Warm-Up Exercises and Stretches: Musicians are sometimes called “small muscle athletes”. Stretching exercises and gentle warm-ups result in increased range of motion, strength, coordination and flexibility.

Take Breaks: One’s muscles, ears and vocal chords need regular breaks to return to their relaxed state. Not doing so tricks the body into thinking that “tense” is the “relaxed state”, resulting in chronic pain and stress.

Engage in Active Sitting: Most musicians remain in a seated position for extended periods of time. Active seating helps ease chronic back pain, promotes correct posture and maintains general health.

Seek Professional Advice: Speak to a doctor, chiropractor, massage therapist, Alexander Technique specialist, music instructor, otolaryngologist or ergonomic specialist for further information or treatment.

Be Proactive in Maintaining Musician Health

With an increased understanding of the types, causes and prevention of music injuries, musicians can be more proactive in maintaining their first instrument: the body. Musicians dedicated to maintaining musician health can look forward to many years of pain and injury-free music-making.

The Rest of My Series on Musician Injuries

Face and Neck Stretches for Musicians | Arm and Hand Stretches for Musicians | Back and Should Stretches for Musicians

Additional References:

The Art of Practicing: A Guide to Making Music from the Heart, Madeline Bruser (New York: Bell Tower, 1999)

Musicians' Injuries: Types and How to Avoid It, Espie Estrella

Musicians and Injuries, UN-L Engineering Electronics Shop, University of Nevada

Originally published on Suite101.com on November 20, 2009. All rights reserved by Rhona-Mae Arca.

Excited About My New Accompaniment Gig

I can see why my friends and colleagues who gig regularly enjoy playing with different groups of musicians. The easiest way for me to explain how it makes me feel is to use an analogy from anthropology:

The Tamil Indians believe that all living and inanimate substances are fluid essences. That is, me typing on studio computer keyboard, staring at my computer screen make up a new "joint" substance. Every music ensemble and every project is akin to this.

This week and next, I am working with a school choir in preparation for their in-school music festival. I've worked with the music teacher before but with a different choir. Different context. Different ensemble. Totally different music.

The pieces are simply charming. I'm having a great time learning the music. It's energizing as it's different from what I've been working on lately.

First, there's Antonio by Jay Broeker:

Antonio

By Jay Broeker. For 2-part voices and piano. Concert. Octavo. Published by Santa Barbara Music Publishing (SB.SBMP-873)

...more info

It's the trickiest of the bunch. The lyrics are funny and tune sticks in your head for hours.

Nick Page's Fairest Lady is a beautiful ballad:

Fairest Lady

((No. 7 from The Nursery Rhyme Cantata) CME Beginning). By Nick Page. For Choral, Chorus, Piano (UNIS). CME Beginning Series. 8 pages. Boosey & Hawkes #M051471799. Published by Boosey & Hawkes (HL.48004859)

(1)

...more info

Spirits by Douglas Beam is deliciously spooky. The fourth piece is Pirate for a Day by Roger Emerson:

Pirate for a Day

By Roger Emerson. For Choral (2-Part). Youth Sing Out (Choral). 12 pages. Published by Hal Leonard (HL.8564233)

...more info

It makes me giggle whenever I practice it. Every. Single. Time.

I am enjoying my work with the choirs so far and look forward to hearing what kind of music we create together onstage.

Tips for Practicing Music - Speed Linking

Sometimes, it may seem like we music teachers are harping on the same things. Well, there's a reason for that. We've been where you are right now and we hope that some of our pearls of wisdom, learned from years of learning and practicing music help you to learn your music more quickly and more effectively.

Here are some tips from other music teachers and pro musicians on how to practice music:

• 12 Tips for Practicing Music

• DSO Practice Tips

• Better Faster: Top Ten Music Practice Tips

• Music Practice Tips Techniques Links

An Introduction to Music Examinations

Learn about what is involved with music exams, from exam requirements to pros and cons and from examination types to what examiners are looking for.

According to the Royal Conservatory of Music of Toronto (RCM), over 100,000 students register for an exam annually through RCM Examinations (National Music Certificate Program in the US). As there are other music examination systems, the true figure is even higher. Before registering for a music test, having a basic understanding of what is involved can help with preparations.

What Happens in a Music Examination?

There are two types of music examinations: practical and music theory. In a practical exam, students prepare several contrasting pieces for their instrument. Genres include Baroque, Classical, Romantic, Impressionism/Late-Romantic, Modern Classical, pop/rock, jazz and Latin.

Music students should be able to execute technical exercises with a high level of fluency and accuracy. They are also tested on aural, rhythm and sight-reading skills. Depending upon the exam system, students may be tested on improvisation, keyboard harmony, oral questions, transposition and memorization.

All music conservatories have a syllabus for each instrument which lists recommended repertoire for each grade. Syllabi also include a detailed description of technical requirements and music theory co-requisites.

Music theory exams are generally written examinations, although some conservatories offer keyboard harmony tests. Beginner and intermediate students are assessed on rudiments, while advanced students take exams in music history, harmony, counterpoint and analysis.

The Pros and Cons About Music Examinations

Music teachers in professional associations, such as the Canadian Federation of Music Teachers’ Associations and discussion groups like LinkedIn have debated about the benefits and downsides to music examinations.

The benefits of taking a music examination are varied. In Recognition of Accomplishment, RCM states some of the benefits as being:

• certificates and awards

• high school credits for music classes

• motivation to achieve a goal

• personal growth through achievement

• post-secondary school eligibility

Music examinations aren't for everyone. They can be stressful, especially if one is unprepared. They require a strong commitment from the students, parents and teacher. Students preparing for an examination require more practice time than recreational students. Supplemental repertoire sometimes gets pushed aside to focus on the examination requirements.

All practical examinations test solo performance. However, two Canadian systems, Conservatory Canada and the Canadian National Conservatory of Music do allow the examination candidate to perform a collaborative work to a CD track or live combo (some restrictions apply).

Although there are grading standards, marking is highly subjective in music exams. At music teacher workshops, conferences and discussion forums, music educators have discussed examination issues such as inconsistent customer service and marks that don’t reflect the examiner’s comments.

The music examining boards used in Canada offer slightly different programs. Music teachers will generally specialize in one or two conservatory systems. Students interested in taking music exams can inquire at the audition-interview which conservatory the teacher follows.

About the Music Examiners

Music examiners are music professionals with at least an undergraduate degree in music. These educators have taught for many years and have prepared students for music examinations.

They must also have experience adjudicating at music festivals or competitions and be members of good standing in a professional teaching association. Some are composers, performers and sought-after clinicians for pedagogical workshops and conferences.

To be a member of the College of Examiners, candidates must complete the conservatory’s training program. Music examiners grade exclusively for one conservatory.

What are Examiners Looking for in a Music Exam?

For practical examinations, examiners look for a high level of proficiency in exam pieces, technical exercises, aural, rhythm and reading tests. They assess articulation, dynamics, fingering, notation fluency, phrasing, rhythm, tempo, tone and an understanding of the musical style.

For music rudiments, students are tested on various aspects of music, including musical terms, scales, chords, intervals, rhythm, key recognition and analysis. Advanced music theory exams test students’ knowledge of various areas, including musical periods, structure, composers, significant pieces of repertoire and harmonic analysis.

For all music conservatories in Canada, 60 – 69% merits a passing grade. Honours is awarded for marks between 70 – 79%, First Class Honours is given for marks between 80 – 89% and First Class Honours with Distinction is given to students who earn 90% or higher.

Regardless of the motivation for taking music examinations, preparing for and taking an exam can be a stressful experience. However, with solid practice habits, a supportive teacher and family, taking a music exam can also be a rewarding experience. It is beneficial to have a good understanding of what the requirements, concepts and commitment involved are before preparing for a music exam.

References:

Canadian National Conservatory of Music. Canadian National Conservatory of Music Piano Syllabus. Markham: Mayfair Montgomery Publishing, 2002.

Conservatory Canada. Conservatory Canada Piano Syllabus, 1999 Edition. Waterloo: Waterloo Music, 1999.

Royal Conservatory of Music: College of Examiners (accessed August 11, 2010).

Royal Conservatory of Music. The Royal Conservatory of Music Official Examination Syllabus, 2008 edition. Mississauga: The Frederick Harris Music Co. Ltd., 2008.

Originally published on Suite101.com on August 11, 2010. All rights reserved by Rhona-Mae Arca.