Archive for radio hyrule

Q&As, Interview, and Score Revisions

Posted in Text Updates, Updates with tags , , , , , , , , , , , on December 20, 2014 by mbulteau

A little hardware problem has prevented me from recording Q&As, but Liam Greenough was kind to record and send me a new one, which will be uploaded soon.

Radio Hyrule has updated their playlist with the most recent demos from Majora, along with three of my non-Majora-related arrangements. They also interviewed me for the second time, wherein I happened to give away a status update that I will reiterate here:

The first draft of the opera’s score will be finished in little more than a month, as Liam Greenough will be flying to my location in February. He, Miguel Jesus, and I will then be revising the entire first draft for the duration of that month, hopefully reaching its final form before Liam has to leave.

Full Throttle: TV Tropes, Spinning Stream, and New Hardware

Posted in Text Updates, Updates with tags , , , , , , , , , , , , on July 17, 2013 by mbulteau

Ladies and gentlemen!

Firstly, Majora’s demo and instrumental reel has been uploaded to the Spinning Stream. Not much else to say, except that if you don’t know about them, go give them a listen. They have a great selection of Nintendo originals and remixes.

Secondly, it has been brought to my attention by a Youtube user named Rethkir that a TV Tropes page has been made for Majora. I was understandably surprised, as this isn’t even a finished draft yet, let alone a finished work! A Radio Hyrule user named Nayru was kind enough to correct a glaring mistake in the “Voiceless” trope, which stated that Majora is a disembodied voice. Majora is, in fact, an actual singer on stage, separate from the dancer, Skull Kid. It is just considered invisible to other characters, but plainly visible on stage as the “voice inside Skull Kid’s head.”

Last, but definitely not least, the new hardware is ready. I have acquired a new machine, and official digital writing will finally resume at full throttle! All the information and ideas I have been discussing here with polls and such will finally be put into practice to carry on with the completion of the entire first draft of the opera.

I would like to thank all the supporters, who supplied a total of 25% of the required funds for the new hardware:


Thank you! :)

Now if you’ll excuse me, I have a truckload of papers to convert to digital notes.

Cheers from the Majora team!

Majora Team_smallest

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.

Radio Hyrule

Posted in Media Updates, Updates with tags , , , , , , , , , , on September 14, 2012 by mbulteau

Dropped by to tell you that Radio Hyrule has added the following demo reel tracks from Majora to their stream:

Act I – Mayor’s Council Room Fugato
Act I – Trio: Anju, Postman and Anju’s Mother
Act I – Deku Palace Choir
Act I – Odolwa and the Deku
Act I – Sakon’s Arietta
Act II – Kafei’s Dream
Act II – Fisherman’s Instrumental (Radio Hyrule exclusive!)
Act III – Pamela’s Arietta
Act III – Stone Tower (Sample Test)

Pay them a visit!

You can request any track from their list. They have remixes for all tastes.