Archive for fisherman

2000 Likes!! Something For You

Posted in Media Updates, Updates with tags , , , , , , , , , , , , , , on February 7, 2013 by mbulteau


2000 likes = 2000 people

Imagine each contributing just 1€.

Support the artist!

On writing and revisions, and Q&A #22

Posted in Q&A with tags , , , , , , , , , , on October 15, 2012 by mbulteau

I just feel I should reinforce what had been said before, that EVERYTHING is subjected to revision and that what is being written is a gigantic first draft of the entire work. Once it’s done, I will be able to grasp the full picture and revise and re-revise everything until it all satisfies me.

What already satisfies me from the beginning will stay the way it is, and what doesn’t won’t. I will only be sure of that when the first “coat” of writing is over. The entire process is and will be tiresome and long (and I do mean LONG), since this must be treated as the embryonic phase of the project.

Speaking specifically about Demo #6, it should actually be called some sort of “recitataria,” since the lack of clear pacing is indeed intentional. A lot of the opera behaves that way, and much of it doesn’t rhyme at all. It spasms as much as a dying world does. Most of act (day) III is also designed to be completely anti-flow and harsh on the ears. If the giant made some say they “didn’t know what to think of it” (apart from the things to revise), then the cryptic appearance of a strange guardian of old, disconnected from any known occurrence in the life of a Terminan of that age, has had its effect.

Also, I forgot to mention that the very beginning of the Giant’s Aria, while he approaches, has lyrics by other characters on stage, including the Monkey, Kafei and the Deku about the approaching silhouette.


And now for your answers!

ElFrijoleroMang: Have you put this on Kickstarter?

No meddling with monies until a definitive kind of officiality has been attributed to the project. Then we’ll see what we need to do.


Rebecca: Do you know what Nintendo thinks of this? Are you afraid they won’t be happy that you plan on making an Opera that will make you money? Or do you plan on this not making any money at all?

Related to the above question. All else I can say for now is that there is work in the direction of making this official. It’s delicate and requires as much time as necessary.


AGentofVillainousSo will the Deku Princess appear, or will it be that since Kafei is here and not Link she’ll go unsaved?

I’ll let a later demo answer that.


AGentofVillainous: You know, Sakon’s theme sounds a bit like it has Middle-Eastern themed tunes. It reminds me a bit of stereotypical snake-charming music (which I guess is Indian…). Was this intentional or was the music supposed to be more “sneaky stealy”?

Sakon’s Arietta is the exact theme from the game (the Curiosity Shop’s), the only changes were timbral in nature. What you recognize as stereotypical middle-eastern are the harmony and the melody themselves. By attributing different instruments to it, I gave it a shadier timbre to adapt to the nocturnal scene and feel more “sneaky stealy” indeed, as you said, instead of the eccentric “glittery trinket shop” feeling of the original.


HighPriestFuneral: A question for the Q&A, what does Kafei take away from this meeting with the Giant? Since this scene occurs when he is accidentally released, I would imagine that meeting one of his own gods would have quite an impression as well as the story told to him by their very mouths.

The giant’s appearance feels like a big non-sequitur to everyone who witnesses it, and most of what he speaks about is of such magnitude that it has practically no direct weight or immediate influence on the actions of the characters. There are, however, indirect references to it later on.

I also want to keep the ambiguity of whether the giant’s words were at all understood (remember Tatl has to translate their language) and if the meeting actually took place in a temporal dimension, since all action will freeze as if in a mix of awe and time-stopping. It’s a very vague section.


Russ: You’ve told us before that Link’s not appearing, and that Kafei is no Link; he’s not gonna stop the moon. So… where does this all come in? Does he awaken the giants? Do they free themselves? Are they going to stop the moon, or are he and Anju crushed together like in the game? I’m really curious.

Well you’ve seen one giant free already. I choose not to answer the rest at this point, sorry.


Gregory Smith: Did you base the Skull Kid’s theme more off of Holst’s “Jupiter” than Saria’s Song?

You’re gonna have to elaborate on that. I know Holst’s Planets Suite, but I really don’t know what section of Jupiter you’re referring to. If I did do something similar, it was unintentional.


Gregory Smith: When writing your score, do you have sheet music from the game to work off of, or are you basing everything based off what you learned from ear? And if you have sheet music, would you be willing to share where you got it from?

I get the themes by ear and work from there. Most aren’t very hard at all, they have a lot of modal harmony or just stuff with fourths. The biggest headaches are stuff like the Indigo-Gos’ theme with all its jazzy goodness.


Peachy: Will the Great Fairies be in the opera at all? Their role was fairly significant in the story as well, I would love to see at least one!

They were significant to Link. With Link’s absence, I cannot find an appropriate situation in Kafei’s path to include a Great Fairy. Sorry.


yenny: You mention that “The Fortress/The Pirates Give Chase” actually has lyrics, even though you uploaded it as an instrumental. How many of the other instrumental pieces that you’ve uploaded have lyrics in the final version?

As you’ve already seen, the Deku Palace’s instrumental got lyrics as Demo #4, and Victory and the Giant as well, as Demo #6 (except for the beginning fanfare, which is sung by the Deku after the defeat of Odolwa). Apart from those, Stone Tower will as well, but that specific upload is just a test with ancient instruments, not the opera’s intended orchestra.

The Instrumental Snippets upload has orchestral bits that occur immediately before or after sections with lyrics, such as the Mayor’s Council Room Fugato (Demo #1), Anju’s Trio (Demo #5), the Clock Town Choir (demo to come) and Majora’s Aria (ditto).

Also, the Fisherman’s Intro. The full instrumental of his arietta and duet with Kafei can be requested and heard exclusively at Radio Hyrule.


Cerulean: I may have overlooked it but I have not seen anything for the Zora yet. I am very excited to see what you come up with. Also do you allow online contributions to your choir? I will gladly try out if you do. I would love to be part of this.

The Zora will only appear as dancers in Kafei’s Dream and as Mikau, since Kafei has no access to Zora Hall.

I thank you for your offer, but as it has been said before, so far we are working with close resources to minimize logistics problems (of which, believe me, we’ve had quite a bit).


wolffoxin: [on Demo #2Do you by any chance have the instrumental of this song?

Why yes, yes I do.


Posted in Q&A, Text Updates, Updates with tags , , , , , , , , , , on July 24, 2012 by mbulteau

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).