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.
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. :)
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.
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.