I am well passed the halfway point of the 2nd Act. Normally this wouldn’t be such a big deal, but in the Dieselpunk Opera the 2nd Act is a double length act.
The DO will be the same length as the Steampunk Opera, just about 90 minutes. However the Do has only 3 acts instead of 4. Act 2 is almost twice as long as the normal 20 something minute acts. Hopefully the extra time is worth it. While i write the songs as i go, they are well mapped out so it’s a pretty clear shot.
While i know their structure, mood and what happens plotwise before i get to them, i do not know exactly what the music will sound like nor do i have melodies, only ideas of where to aim. I like working this way. I have a clear direction going in, but there is so much up to creating in the moment that doing them isn’t a task, like when you REALLY have something all mapped out and just have to actually bang the stupid thing out. Because i still have absolutely no idea how i’m going to accomplish certain aspects, it remains exciting and fun for me.
The Act uses 2 female voices and 1 male. This matters in that i was comfortable re-releasing the Act 1 demo because me singing scratch vocals for male parts sounds fine. Me singing scratch vocals for 2 female parts does not sound good, especially Constance where i use a pitch changing plug in to differentiate her voice and cannot hit the high notes. I literally cannot hit the high notes even pitched up a step. The scratch vocals sound horrible. They take away too much from the experience.
However.
I’ve thought about this a lot. On the day i announce i have completed the Act 2 demo, while i will not put it up for general listen like i did the 1st Act, i will give it away to the first 5 people who ask for it in the comments. Not now. Don’t worry now. Wait a few weeks. But the first 5 people who ask for it in the comments that day i will give it to. They can also tell me if it sucks or if something really doesn’t work. I don’t need feedback simply for the sake of feedback, i need to feedback if you absolutely feel the need to tell the composer something before it’s etched in stone. Some of you were an enromous help in me figuring out a hole in the Dieselpunk Overture and in case i’m missing anything the 5 can be my test audience. I normally bug certain friends of mine, but thought i’d give them a break this time. (although if your name is either Mark Swetz or Kevin Hulbert: tough luck. You’re drafted. Suck it up.)
Soooooo, uh, there. Onwards.
Let's connect! Here is where you can find me:
I would like to take a listen.