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Please help me understand Beethoven (or counterpoint in general)

Hello Dear Forumers. :) Very happy to write my first post.

I'm an amateur and like to study works of classical masters to see how certain things are done and among other things I also try to grasp counterpoint theory and learn about species. Recently I listened and analysed the score of Beethoven's 9th symphony's 2nd movement molto vivace and was struck how the strings are written:

https://www.youtube.com/watch?v=p5favl2Qtx0

So when I looked at the score I could not grasp what is going on here because sometimes for example there are parallel thirds descending between two voices when another voice go opposite direction, sometimes the rhythm is hanging on one note, change of octavesetc. You can see the strings "bricks" in the video so you'll see what I mean. I can't understand how it is written, is it note against note counterpoint with rules broken? I have a hard time to figure out which voice is written against which voice if that makes sense. :)

I also have a side question for things like Bach:

https://www.youtube.com/watch?v=1Y_L0-aqLLs

I was taught by the materials that two voices should generally be in opposite direction or oblique motion for the best effect, but this uses parallel motions almost all the time from the beginning minus the leaps on every first note in the group. Bach's ear dictated this or are there other principles behind this?

Thank you.

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Rowy--no one is being offensive, at least not me..its a shame youre taking it that way, as it isnt intended.

I took your saying about "growing up and destroying the modern stuff"--as a joke--and joked back about it. But we really should end this discussion as I wrote before, as you seem to be getting upset over it.

And again if any of your serial or atonal work should surface Id very much appreciate hearing it.

Thanks Bob https://soundcloud.com/bob-morabito

And now you're being offensive. The more I was praised for my so called modern work, the more I wanted to destroy it and so I did. It was nothing more than "interesting" music and even as a young composer I knew that this kind of music is the Emperor's New Clothes. Back then people argued that in due time it would grow on the audience. That never happened. People got less interested, not more. That's why your style is not modern. So what?

If it is important to you, you should keep writing it. Perhaps it's therapeutic, or it just makes you feel good. I really don't care.

@ Mr. Zarb-Cousin

There are many things on this earth that are "ghastly and horrid" but I promise you none of them are sounds coming out of speakers or headphones.

When you do encounter things that are truly "ghastly and horrid", what words will you use?

@Ingo: why bother telling his ears what to think, if they truly find the sounds "ghastly and horrid"? It's not as though there is an objective measure of how "horrible" a sound is perceived by some random listener.

My personal observation, which along with $5.00 will buy a cup of coffee at Starbucks, is that the rules of music, including harmony, counterpoint etc., are written from the point of view of "all things being equal" The obvious problem with that is that in music as in real life, almost nothing is on an "all things being equal" basis.

The best advice comes from your ear. If a sound works for you, then use it. Let the academics figure it out later. They have plenty of time to do it since that are usually not busy composing.

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