# Betelgeuse



## Ian

Although I've written quite a bit of music over the years, I'm just an amateur composer. Betelgeuse is the 4th movement of a 5-movement suite for orchestra called Orion. The piece starts in 5/4, moves to 4/4, and returns to 5/4 at the end. It runs about 4:40.

This is the first time I've ever opened up my work to comments from others, but I've only just become aware of this forum and I didn't much like the idea of posting music on YouTube to be devoured by the masses. I'd appreciate your comments and insights - especially with respect to orchestration which is still one of my weak areas.






Ian


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## samurai

@ Ian, I really liked what I heard and intend to listen to the rest of your suite. Did you have Holst's *The* *Planets* in mind when you composed this? I found the last movement to be very compelling with a pulsating, insistent kind of "undertow" to it. It also has a vaguely dark and threatening feel to it. Very good work. Congratulations! I look forward to listening to the other 4 movements of your piece.


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## Lunasong

Ian, thanks for posting for our evaluation. I agree with samurai about the driving bass part. I especially liked the transition from 5/4 to 4/4, because the 4/4 is just as unusual sounding as the 5/4 because of where you've placed the stressed beat (1, 2, +4). I would look for a way to develop this beyond a bass and melody line to improve the piece. It seems like there could be more going on.


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## kv466

Hmmm, are the other movements Rigel, Bellatrix, Saiph and Nebula?


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## Ian

kv466 said:


> Hmmm, are the other movements Rigel, Bellatrix, Saiph and Nebula?


 No... but close! In order: Horsehead Nebula, M42, Belt, Betelgeuse, and Rigel.

Ian


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## Ian

samurai said:


> @ Ian, I really liked what I heard and intend to listen to the rest of your suite. Did you have Holst's *The* *Planets* in mind when you composed this? I found the last movement to be very compelling with a pulsating, insistent kind of "undertow" to it. It also has a vaguely dark and threatening feel to it. Very good work. Congratulations! I look forward to listening to the other 4 movements of your piece.


Thanks for your comments. I didn't specifically have Holst in mind, although the 3rd movement of the suite is much more reminiscent of Mars than the segment I've posted. I'll post that segment shortly and you'll see what I mean.

Ian


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## Ian

Lunasong said:


> Ian, thanks for posting for our evaluation. I agree with samurai about the driving bass part. I especially liked the transition from 5/4 to 4/4, because the 4/4 is just as unusual sounding as the 5/4 because of where you've placed the stressed beat (1, 2, +4). I would look for a way to develop this beyond a bass and melody line to improve the piece. It seems like there could be more going on.


Thanks for your comments! One of the reasons I posted was to get exactly this sort of feedback. I've always struggled with my ability (or lack thereof) to expand the ideas I have in my head. I listen to all different types of music and many different composers, and I'm always amazed at how gracefully they expand their themes and develop them. I seem to be able to get just so far... but no farther - and then things just seem to stop for me. It's terribly frustrating... and I've been battling with this since I finished my undergraduate degree - over 30 years ago!

Ian


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## Ian

Here's the 3rd movement from the suite: 



. As you'll hear, there's no denying Holst's influence on the opening and closing sections, although the similarity is short lived and, I hope, not fully intentional. 

Ian


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## Lunasong

Ian, I would experiment with counterpoint or counter-melodies that act in a different melodic direction to your melody. This will add depth and interest to your composition. If you are listening to a lot of music I am sure you are hearing this. Don't be afraid to experiment and maybe even steal an idea if it helps develop your own skills. Just use that idea as an exercise or jumping point for your own writing.


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## kv466

This is actually a piece, I feel, is nicely composed but unfortunately it is not obvious because of the 'instrumentation' implemented. I honestly feel this piece would sound pretty darned great if well-conducted with a good orchestra. I mean, from the first listen I know exactly what instruments I'd want doing what and where certain tiny 'changes' would be made; but only to expression and not a single note. I really wish I could hear it through true players and acoustic instruments with proper direction. Nice composition. Oh, sorry...I lied! I'd kill the final note and just let the previous chord ring long with an abrupt cut. Please share the rest when possible.


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## Ian

Thanks again for all your comments. I hate that I don't have an orchestra at my beck and call, so I have to settle for the GM specs on my computer. To that end I apologize for the decidedly electronic sound to the cellos in this next piece. It's the final movement of the Stonewall Resort Suite. 

I really find your feedback valuable. I intend to work on improving my orchestration and counterpoint! Thanks again!

Ian


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