Archive for the Text Updates Category

Trumpet players like to show off

Posted in Text Updates, Updates with tags , , , , , , on September 28, 2016 by mbulteau

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

Posted in Text Updates, Updates with tags , , , , , , on February 13, 2016 by mbulteau

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.

Poll: Chromatic Mordents

Posted in Opinion, Text Updates, Updates with tags , , , , , , , on November 17, 2015 by mbulteau

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.

Revision Journal #45

Posted in Text Updates, Updates with tags , , , , , , on September 11, 2015 by mbulteau

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.

Revision Journal #44

Posted in Text Updates, Updates with tags , , , , , , on September 10, 2015 by mbulteau

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.

Revision Journal #41

Posted in Text Updates, Updates with tags , , , , , , on July 30, 2015 by mbulteau

block

An entire day spent around Majora’s Aria, and not everything is sorted yet.

Cluster notation is fun, though.

Revision Journal #40

Posted in Text Updates, Updates with tags , , , , , on July 29, 2015 by mbulteau

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.