To be honest, I'm just asking the question and have no strong opinion either way (yet), but I agree that you would need to accept legato if ties were to be accepted.OCTO wrote:Knut, if your argument is valid than you have to accept the legato (slur) within the tremolo, do you?
Also, the need to change the bow within very long tied notes doesn't argue anything contrary. Good musicians can change the bow inaudible.
Avoiding accents by tying, when accents are not present, is tautology. In tremolo playing no musician will play accent on every single note, in the case when the accent is not present.
Not writing ties within tremolo is a very long tradition and is clearly understood and prefered by professional musicians. I only see a need to write ties (dashed!) in the case music is extraordinarily complex (ferneyhough like).
The final argument against the tied tremolos is that two non-tied and two tied notes are technically performed exactly the same and the audible result is exactly the same; and their result completely equals with the technical execution and audible result of two tremolo notes of different pitch. (Simple explained using tremolo and two notes:
- same pitch tied OR
- same pitch non-tied OR
- different pitch
= same execution and same audible result*)
*here I don't refer to pitch, but to force, power, accenting, acoustical differentiation.
And if the acoustical result between two tied and two nontied notes of the same pitch is the same and the bow maneuver is the same, than the tie is redundant.
My thinking is that if you view unmeasured tremolo simply as a coloristic effect, similar to col legno or sul ponticello, it makes somewhat more sense to me to accept, or indeed demand, both slurs and ties in this context. The argument about long sustained notes indeed seems relevant to me if this is the correct understanding, just because the sound of an unmeasured tremolo is perceived as continuous.
However, if unmeasured tremolo, as I've advocated earlier in this thread, should be understood as a continuation of the measured repeat, it makes very little sense to introduce slurs or ties only for this particular species of tremolo.
I may very well be a tautologist, but my own use of practices on this subject has more to do with pragmatism. I am not about to risk someone playing an accent in my music where they shouldn't be, and since my understanding was (and still is) that opinions differ on this subject, I applied them just to be sure.