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#461329 - 05/18/07 05:21 AM binding and tied notes ... genius?
btb Offline
4000 Post Club Member

Registered: 01/21/04
Posts: 4264
Loc: Pretoria South Africa
My tired old book on Harmony refers to a “binding note” which becomes
a “tied note” when stretching over measures.

But it was in savouring at the piano ... the mature George Gershwin’s
scoring of the 1930 hit “Embraceable You” that I noted how the undertow
repeating Bs and Ds in the words “Embrace me” Handsomely bind the phrase together (and incidentally make for easy sight-reading) ... followed
by the repeating A#s and C#s in the next measure ... and the Cs and Ds in measure 3 spilling over as tied notes into measure 4.

See below ... “Embrace me ... my sweet embraceable you!”

web page

Out of this came the thought ... is use of the binding (and tied) note a masterly form of poetic distillation ? ... quality authors don’t waste words ... they seem to have a talent for finding just the right turn of phrase ... musicians similarly ... “not a note too much”.

In this kite-flying reverie ... the genius of Chopin’s familiar Prelude 28-4
presented itself ... the whole bass slide is an assiduous inter-connection of
one or two notes from the previous note pattern.

Any thoughts on the penchant for “binding & tied” notes being indicative of quality music by a mature genius?

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#461330 - 05/18/07 09:32 AM Re: binding and tied notes ... genius?
pianojerome Offline
9000 Post Club Member

Registered: 01/01/05
Posts: 9868
When writing 4-part harmonies, I was always taught to keep as many common tones as possible -- because otherwise, you open yourself up to errors in voice-leading (parallel 5ths, double leading tone, etc). So to move from a C chord to an e chord, you only have to move one note: C G E G becomes B G E G. But to move from a C chord to a d chord, you have to move all four notes, because the two chords have no common tones, and that gets to be much trickier.


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