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?