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Trumpet players like to show off

pirates ... then they'll get to show off.

Today we realized that, regardless of their gender, the opera's trumpet players would have to dress as Gerudo Pirates for Act II in order to mingle with the female choir on stage.

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Revision Journal #46

fiu

How to direct musicians, by MBulteau

Long time no post, but that doesn't mean there hasn't been stuff going on.

The revision of Act I is nearing its completion.

Act II, meanwhile, is incurring an unexpected but very welcome change, wherein one superfluous section related to Anju is being replaced by another (also related to Anju), for the benefit of the story and pacing in general.

The second part of Act II has always been complicated to get right, so I'm glad every time it gets a nudge in the right direction.

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Poll: Chromatic Mordents

mordent

Click to enlarge

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Fellow musicians, after much discussion, we've come up with notation for chromatic/atonal mordents (it's all Majora's fault), with the solution provided by our very own Liam Greenough in the picture above.

These would completely replace the classical mordents we know from the Baroque, since frequent use has made it necessary to always specify the interval at which the ornament is.

We would like to know what you think of these, if they seem sensible and functional to you, or not. If you vote no, please also explain why in a comment, otherwise we will see no reason to count your vote.

Thank you.

P.S: If you've already voted on Twitter, please don't vote here.

[polldaddy poll="9184071"]

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Revision Journal #45

prologue

What started as a prologue became a prelude, then a prologue again. Due to its contents, we've reached the conclusion that prologue is the definitive term.

That's the kind of updates you get from people obsessed with semantics.

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Revision Journal #44

majora_A4vol

Majora is the only amplified singer in the opera due to the need to occasionally feed her voice into speakers after being transposed up an augmented fourth, in order to produce the effect experimented with in the demo. It therefore requires a special additional staff to indicate the degree of intensity for the controller of that effect.

Meanwhile, revisions are scattered everywhere, dealing with issues of all kinds, from orchestration details to score layout, through resolving placeholders and honing the libretto, as we painstakingly run through the entire thing page by page, system by system, bar by bar.

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Revision Journal #40

unhearable Consulted with musicians for research.

When the piccolo turns out to be too low to be heard in 90% of the tuttis, one's head does begin to spin. What was once scored for one piccolo and two flutes is now scored for three flutes with the first doubling as piccolo, because of reasons.

Very good advice for the horn, however, which will invariably result in the rewriting of most horn parts as well.

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Revision Journal #39

mjesus

Miguel Jesus will be staying over for the rest of the week for five days of intensive work on the final score.

The revisions to the Stock Pot Trio have been implemented, and a recitative between the Happy Mask Salesman and Shikashi is being finished for inclusion in the score next.

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Revision Journal #38

what

The prelude has been composed. It has now passed to the revision phase.

There is general progress on all fronts of the score, as the slow but steady completion of the writing progress bars on the right may tell you.

I had my suspicions that writing sprechgesang for the Happy Mask Salesman was going to be a challenge, and they were right. There's a recitative in Act II between him and Majora that needs special attention.*

*Translation: It's giving me a headache.

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Revision Journal #37

IMG-20150704-00748

Was in France for the past week. Work continued by hand as I proceeded to fill in the several blanks that exist in the score since the first revision, most of them recitatives.

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Interview & Music Theory

jeremysmith

READ ME

Jeremy Smith, a PhD student in Music Theory, interviewed me some months ago for a paper he wrote as part of completing his Master's degree. The paper analyzes the music of Majora's Mask and how it is viewed and used by fans of the game, and it includes Majora as an example (p16), along with the full interview as an appendix (p42).

He was kind enough to send it to me and allow for its publication here. Thanks, Jeremy. :)

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Revision Journal #35

Turns out that since the Overture segues directly into the prologue, there is no need to consider them different sections. They have been merged into a single section: the Prelude.

The first part of the Prelude consists of an opening instrumental, which is now complete. Only its second part remains: a recitative.

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Revision Journal #34

clocktownsketch

Currently discussing the particulars of the Clock Town set and how the set pieces used in it can be recycled for the rest of the work, which requires unearthing my very first sketches from 2011.

Meanwhile, tempo markings in the score will be limited to numbers, with words indicating mood rather than the classical terms for varying speeds. In other words, none of that allegro/adagio business. I AM A MAN OF THE 21st CENTURY.

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Revision Journal #32

illjuststaycloseby Upon revising Liam's proofreading of the plot summary, I've fortunately arrived at a conclusion that solves a problem of stage dynamic in the love duet of Act II.

Specifically, the two-schmucks-singing-for-five-minutes-while-facing-forwards problem.

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Revision Journal #31

humor

One might say this is technically Python

Took three days to put together a plot summary because of reasons.

I've found that doing so has allowed me to distance myself from both the music and the libretto, allowing for a more general point of view on things. As a consequence, some vague details on how stage action is supposed to go have become more objective. Case in point, the climax of Kafei's Dream is now certifiably bitchin.

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Revision Journal #30

extended

LOOK AT WHAT YOU MAKE ME DO

The Mayor's Fugato is currently under final revisions, which will not be featured in the demo's makeover due to the fact that some singers have already been recorded.

Meanwhile, I'm studying alternative notations for Act III's more modernistic tendencies.

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Revision Journal #29

musicalbarcode

WELL THEN

Glitches aside, there's been the usual slow but steady progress of shaping up the score of Act I to its final form.

Also, the libretto to the prologue has been drafted and is now under revision.

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Revision Journal #28

emotive

Sometimes Miguel Jesus can be an emotive person

It was a bit of a struggle to make them look good, but the very first pages of Act I are finally looking like their final form.

A lot of work remains ahead of us. Proper engraving of a 3+ hours long work for full orchestra and singers is a special kind of trial. X_X

ONWARDS

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Revision Journal #27

paynoheed Advances in the engraving of Act I. Miguel Jesus predicts the complete score won't be done before the end of Summer.

Expect the makeover to the Giant's Lament to be up very soon.

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Revision Journal #26

test Work proceeds online, as we share a repository for the final engraving of the score.

Everything is quite spread out at the moment, as minor re-revisions are being done to Act I, Act II is being properly engraved for the first time, and Act III is being molded to the definitive libretto, and molding it a bit in the process.

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