Perry Joyce tells us how to compose music for voice

actually, it's for voyces

BY STEPHANIE ESLAKE

 

Earlier this year we had a chat with a multi-talented artist who was set to teach singing with the West Australian Opera’s Wesfarmers Arts Singing Classes. Pretty impressive.

The man in question is Perry Joyce, and in the months since he has continued to work across composition, conducting, and singing himself – building a musical career filled with variety and opportunity.

Perth ensemble Voyces was quick to catch onto Perry’s talent – and they commissioned him to write a new work for the group. We chat all about composing for voice and The Frog Prince before it’s performed in Plus One this September 9.

 

Perry, last time we spoke was when you were involved with WAO earlier this year! Tell us about your work with Voyces in the time since and your new commission.

The conductor of Voyces, Dr Robert Braham, was my music teacher during high school and I owe a lot of my musical beginnings to him. He inspired me to continue my journey with music, and so when he asked if I’d write a piece for Voyces I jumped at the opportunity.

So what’s the new work with Voyces all about? 

The Frog Prince is inspired by the Brothers Grimm story of the same title. The text for this work was written especially for this commission by Dr Michelle Aslett, a Western Australian playwright and great friend.

The Frog Prince is composed for a cappella choir and solo bass clarinet, which will be played by Ashley Smith, an absolute superstar and musical tour de force.

The work recounts the story of a frog who makes a promise with a young princess who has dropped her golden ball down a well. The work was conceived as a song cycle for choir, and the bass clarinet is used not only to accompany the choir but also provide the necessary effects and colours of each of the personas in the story. I was fascinated by the moral underpinnings in the fairytale, which are bizarre at best.

How does your work as a singer affect the way you write for voice?

It certainly helps to have a technical understanding of the voice and its capabilities, including range, tessitura, and timbre to play to the voice’s strengths. I’m also hyper-aware of voice leading, and making sure that there is a sense of line across all the voice parts. As a singer, I also have a predisposition to melody, which can help when writing for voice not least because it gives singers something to grip onto when they’re performing and phrasing.

What do you think other singers could learn by trying their own hand at composition, so to speak?

I think composing can give anyone a greater appreciation of music in general, since you’re able to gain a sense of what it takes to actually construct a piece of music. It’s also quite fun to engage in the creative process of writing music.

Your two career journeys – composing and singing – are in tight parallel. Why have you chosen to build a career in both paths?

I’ve been lucky enough to pursue singing, composing, and conducting, which are some of my many passions. For me, they are a source of joy but also professional satisfaction. Composing allows me to be creative, while singing allows me to make music with others. The only drawback is that each area requires your undivided attention and time, so I’m constantly kept busy!

What will it mean to you for Voyces to perform your new work? 

I’m happy on this occasion to take a more passive role in The Frog Prince; it will be nice to be an audience member, for a change! It’s an honour to have my work performed, especially by such talent.

What should young composers keep in mind when writing for voice?

I think young composers should sing through their own works to gain a sense of how to be sympathetic to the instrument’s needs. This includes how the voice modifies vowels across the range, appropriate ranges, vocal fatigue, and importantly that singers need to breathe. That shouldn’t be stifling, though. The voice is capable of some incredible things.

Listen to Perry Joyce’s music in Plus One, featuring Voyces directed by Dr Robert Braham, 3pm September 9 in Christ Church, Claremont.

CutCommon subscribers will receive a discount to see this event!

 

Shout the writer a coffee?

We volunteer our time here at CutCommon to support new music in Australia. Shout Stephanie a coffee for publishing this story, if you like.

[purchase_link id=”12246″ style=”button” color=”orange” text=”Pay what you like”]
No amount is too much or little. Thanks for supporting Australian arts journalism, you outstanding individual.

 


Images supplied. Pay what you like through PayPal. (You don’t *actually* have to take the writer out.) We protect your personal information.

HEAR IT LIVE

GET LISTENING!