Lovely weather we were having, back when it was Summer.
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FYI, these first 12 devlogs have been excerpts from just one work call.
No such thing as a quiet trumpet.
Bagpipes have no dynamics because they have no respect for anyone.
Just get a decent quill.
... 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.
https://www.youtube.com/watch?v=kZGEd00fjr8 The net sum of nothing.
https://www.youtube.com/watch?v=FCXThPo2R3U Part-combiner hates us, and will continue to hate us.
https://www.youtube.com/watch?v=6uH46A824pM Everything is so slooooooow...
https://www.youtube.com/watch?v=PE9Mob6YljE Hairpin and dynamic positioning shenanigans.
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.
https://www.youtube.com/watch?v=Fs-myN1CRSQ Semantics Argument Championship 2016
https://www.youtube.com/watch?v=1lYkTXK38co Barely edited footage of work on Majora's score. Not for the easily bored.
My original purpose for streaming on YouTube was to show live work on the score and how painstakingly slow the process is, along with interaction with those interested (aka those who wouldn't be bored to death). Because of limited capabilities, however, general streaming stability proved impossible, so we resorted to plan B, and you're looking at it.
We share score files in a GitHub repository and split tasks and sections among each other. Because I myself am a complete noob to Lilypond/Frescobaldi (the program chosen by Miguel Jesus to which to convert my original notation files and engrave the final score) I mainly direct the revisions.
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.
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.