So here’s a mini post about a mini-experience with IRC chat over at my website.

You’re welcome to drop by for the freshest mini-updates (I so much prefer IRC to twitter). I also need to test my logbot to see if anything said over there while I’m absent is properly recorded.


Also, here’s a mini-instrumental:

Just a little reorchestration of the original for fun while I write the Fisherman’s Arietta and Duet. It’s a funny lighthearted number for bass and tenor that uses this theme.


And a mini-Q&A:

MishieruHime: Are there plans to cast children in the opera?

I am very picky about children’s voices. If they are appropriately good, however, I don’t see why the Bombers shouldn’t appear in the Clock Town Choir, for example. If you mean child soloists, then my pickyness quadruples! A child soloist for Pamela, for example, isn’t planned at all, but if there ever is a chance to get a very VERY VERY good one, I don’t see why not.


Gregory Smith: A question that has been bugging me for a while, but I keep forgetting to ask: You are currently writing for Great Bay, but you have already written and recorded Pamela’s Arietta from Ikana Canyon. Does this mean you have more written than your progress bars claim?

Pamela’s Arietta was the single extra-act exception. I liked the number and thought it appropriate for a demo, so I wrote it in advance. The first thing I wrote for the opera wasn’t the beginning of Act I either, but a Deku Palace instrumental, to test my bagpipe VST samples. The opera is being written linearly 99% of the time.

Right now, however, a third exception is occurring. I am separating Act II into unlinked parts, for the first number has stretched too much and I need to know what material will be repeated later on in the act, in order to cut it off of the exceedingly long beginning. Once I am pleased with every single number, I will work on the connections. It remains a tough nut to crack, but I will get it right and move on to Act III.

As regendo said, answering your question with his thoughts, I do write down whatever comes to my mind for later use as well, but never as ready as something like Pamela’s Arietta. They’re just some pages with notes (of both kinds).

One Response to “Mini-Everything”

  1. kram1032 Says:

    Miniawesomeness is still awesomeness and thus also very, VERY, *VERY* welcome.
    Great child singers exist but are rare…
    But that gave me a question:
    Will you have “optional” parts in the opera aswell? Stuff that won’t work on every stage or with every cast but given certain opportunities, it could be added?

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