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Score Devlog #3

https://www.youtube.com/watch?v=vDJF5JJgFb0 Turns out that, according to our strings advisor Tomás Costa, string tremolos are never to be slurred, and a held tremolo note can be tied across barlines.

We would only learn of this later.

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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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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 #43

[audio http://www.mbulteau.com/hmsbreakdown.wav] Sketching a clusterfuck of a breakdown for the Happy Mask Salesman on the piano.

Apologies, the recording was only for reference and the only device available was a potato.

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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 #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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Revision Journal #36

UPDATE: Kaitlin Brasfield is no longer our official concept artist.

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clocktown2

I've been discussing the particulars of the set design to be included in the Staging Reference Tome with Liam, and forwarded this information to our talented Kaitlin to breathe life into.

Meanwhile, there's general cleanup to the Prologue going on, along with workarounds for Lilypond bugs by our increasingly meticulous Miguel Jesus.

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Concept Art

UPDATE: Kaitlin Brasfield is no longer our official concept artist.

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art1

Meet Kaitlin Brasfield. She will be illustrating the staging reference tome for Majora. Welcome aboard, and many thanks for joining us!

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We've received submissions from other artists, of which I will post the runners-up:

artRU1

artRU3

artRU2

Happy mask salesman costume design 1 RD C

A big thanks to Allison McNamee, Andrea Zevallos, Nicole Soto, Sarah Welland, Eric Keefer, Nata-Ly Pantšenko, and Stefania Zimmerman.

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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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