Archive for bulteau

Score Devlog #6

Posted in Devlogs, Updates with tags , , , , , , , , , on September 8, 2016 by mbulteau

Part-combiner hates us, and will continue to hate us.

Score Devlog #4

Posted in Devlogs, Updates with tags , , , , , , , , , on August 25, 2016 by mbulteau

Hairpin and dynamic positioning shenanigans.

Score Devlog #3

Posted in Devlogs, Updates with tags , , , , , , , , , on August 18, 2016 by mbulteau

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.

Video Q&A #45

Posted in Media Updates, Q&A, Updates with tags , , , , , , on February 29, 2016 by mbulteau

Video Q&A #44

Posted in Media Updates, Q&A, Updates with tags , , , , , , , , on February 22, 2016 by mbulteau

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.

Video Q&A #39

Posted in Media Updates, Updates with tags , , , , , , on September 26, 2015 by mbulteau

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.

Video Q&A #38

Posted in Media Updates, Q&A, Updates with tags , , , , , , , on August 31, 2015 by mbulteau