Slur or Tie when they are mixed?












4















enter image description here



For my understanding, the top notes D and F are slurs, the bottom notes G and C, what are they? Please help! Thanks!










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  • Related: music.stackexchange.com/questions/33611/…

    – user58508
    yesterday
















4















enter image description here



For my understanding, the top notes D and F are slurs, the bottom notes G and C, what are they? Please help! Thanks!










share|improve this question

























  • Related: music.stackexchange.com/questions/33611/…

    – user58508
    yesterday














4












4








4








enter image description here



For my understanding, the top notes D and F are slurs, the bottom notes G and C, what are they? Please help! Thanks!










share|improve this question
















enter image description here



For my understanding, the top notes D and F are slurs, the bottom notes G and C, what are they? Please help! Thanks!







theory terminology






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edited yesterday







Shelley Lee

















asked yesterday









Shelley LeeShelley Lee

384




384













  • Related: music.stackexchange.com/questions/33611/…

    – user58508
    yesterday



















  • Related: music.stackexchange.com/questions/33611/…

    – user58508
    yesterday

















Related: music.stackexchange.com/questions/33611/…

– user58508
yesterday





Related: music.stackexchange.com/questions/33611/…

– user58508
yesterday










4 Answers
4






active

oldest

votes


















6














While slurs and ties look pretty well the same, it's straightforward. Connecting two notes of different pitch, they're slurs; connecting two notes of the same pitch, they're ties. So, the bottom notes in each stave are held over, the B and D on top converge to C, and the F at the bottom drops to E.






share|improve this answer





















  • 1





    @replete - seems like keep it simple wasn't too successful!

    – Tim
    yesterday



















2














We use those curved lines in music for three different purposes:




  1. Extending duration (ties) - the notes involved must be the same pitch, and only two notes can be joined by a tie. If you want a duration that requires three notes to indicate, you need two ties, one for notes 1-2 and another for notes 2-3.


  2. Indicating an articulation (slur) - for those instruments that can change pitch without a new attack (e.g. a clarinet changing fingering without tonguing) it means using a single attack produced both pitches. For instruments that require a new attack for each note, like the piano, it's an indication that the sounds should be connected as smoothly as possible.


  3. Indicating a phrase ("legato line" or "phrase mark"). This is a little fuzzier... it indicates a smooth connection of the notes, saying they should be played in a legato manner - hence "legato line". It generally extends over a musical phrase - hence the term "phrase mark". Because there are two different interpretations, some composers have created additional symbols (like a dashed line to indicate a phrase that is not legato). Unlike the tie and slur, a single legato line or phrase mark connects more than two notes.







share|improve this answer
























  • There's another use: to denote text underlay in vocal music, by indicating which notes belong to a given syllable. Many people misinterpret such marks as indicating an articulation.

    – phoog
    yesterday



















1














Some people will tell you that slurs connecting the same pitch are actually ties and do not warrant sounding the same note again. That is, of course, wrong. If there is any length-indicating articulatory mark on the first note (like a tenuto bar or a staccato dot), obviously the note has to be sounded differently. But there are also other cases, like the following extract from the Ciaconna of Bach's solo violin Partita 2 (this is in 3/4 time, execution a double stop on both G and D string followed by alternating uses of open A string and fingered D string):Bach Ciaconna (Urtext). Here it is glaringly obvious that the notes connected with a slur and with the same pitch cannot possibly be intended as ties since they are spread across two different strings (and thus have to be sounded twice) and since playing them as ties would be completely out of character for the passage.



Even when playing this on the piano, you would most certainly sound the respective notes twice. So you should always look for all available clues before making the tie/slur decision. It is not as easy as "same pitch -> tie".






share|improve this answer


























  • There's something wrong there: I count seven up-flag notes and six down-flag. What do violinists here interpret that as? Are the first 2 up-flag notes supposed to be 32nd notes and the publisher goofed? Because if so, the down-up tied pair just indicates playing unison double-stop, and a pianist would re-strike only because the upper line re-attacks the note.

    – Carl Witthoft
    yesterday











  • Ultimately, I fear you are confusing (slurs and ties) with phrasing marks .

    – Carl Witthoft
    yesterday











  • @CarlWitthoft As a violist... this line is completely illegible. I think maybe the publisher was trying to avoid stacking notes, but the result is impossible to decipher.

    – chrylis
    yesterday











  • Biggest clue here is that it's written in two voices. However badly.

    – Tim
    yesterday











  • @CarlWitthoft there are twelve 16th notes distributed across two voices (without rests). The first is a double stop, which is why there are seven up flags. In this case the slurs indicate bowing: notes under a single slur are to be played with one stroke of the bow. So there are three downbows and three upbows in the measure.

    – phoog
    yesterday



















-2














Those are double slurs used for joining chords. Ties would not have the same amount of curvature, and if you had different behavior intended for moving and staying notes, you'd use separate stems to indicate separate voicing. Of course, differences are subtle and it depends on who engraved those notes: it is pretty common for people using notation programs to use slurs for everything, so the differences are hard to rely upon. Here is some LilyPond code and output:



version "2.19.82"

global =
{ key f major
omit time 4/4
}

<< { global <>^"Slurs" <g' b' d''>2^(_( <g' c''>4) r4
<>^"Ties" <g' b' d''>2^(_~ <g' c''>4) r4
<>^"Voiced Ties" << { <b' d''>2( c''4) } \ { g'2~ g'4 } >> r4
<>^"Full voicing" << { <b' d''>2( c''4) } \ { g'2. } >> r4 }
{ global clef "bass" <c' f'>2^(_( <c' e'>4) r4
<c' f'>2^(_~ <c' e'>4) r4
<< { f'2( e'4) } \ { c'2~4 } >> r4
<< { f'2( e'4) } \ { c'2. } >> r4 }
>>


LilyPond results






share|improve this answer



















  • 1





    The difference has nothing to do with the amount of curvature. The only thing that matters is the pitch of the notes. You cannot "slur" to the same pitch.

    – Tom Serb
    yesterday











  • @TomSerb - look carefully, there is a slight difference between the curves. However, that's in the printing to join the dots, so to speak. Nothing really to do with slurs and ties really.

    – Tim
    yesterday











  • @Tim - curvature has nothing to do with whether it is a tie or a slur. The curvature will be different for different durations or interval sizes (because the notes are farther apart horizontally or vertically). The goal of the copyist is to make the music as clear as possible, which requires flexibility in the curvature.

    – Tom Serb
    yesterday











  • @TomSerb - you're correct, of course. It's just a fact that for the same space between any two dots, a slur will be slightly more curved than a tie. Probably due to the engraving process. But it's hardly a deciding factor.

    – Tim
    yesterday













  • Thanks guys. I’m only a beginner, I still not really sure after reading your answers. The G on the treble clef and C on the bass clef, are they connected with a tie or a slur?

    – Shelley Lee
    yesterday











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4 Answers
4






active

oldest

votes








4 Answers
4






active

oldest

votes









active

oldest

votes






active

oldest

votes









6














While slurs and ties look pretty well the same, it's straightforward. Connecting two notes of different pitch, they're slurs; connecting two notes of the same pitch, they're ties. So, the bottom notes in each stave are held over, the B and D on top converge to C, and the F at the bottom drops to E.






share|improve this answer





















  • 1





    @replete - seems like keep it simple wasn't too successful!

    – Tim
    yesterday
















6














While slurs and ties look pretty well the same, it's straightforward. Connecting two notes of different pitch, they're slurs; connecting two notes of the same pitch, they're ties. So, the bottom notes in each stave are held over, the B and D on top converge to C, and the F at the bottom drops to E.






share|improve this answer





















  • 1





    @replete - seems like keep it simple wasn't too successful!

    – Tim
    yesterday














6












6








6







While slurs and ties look pretty well the same, it's straightforward. Connecting two notes of different pitch, they're slurs; connecting two notes of the same pitch, they're ties. So, the bottom notes in each stave are held over, the B and D on top converge to C, and the F at the bottom drops to E.






share|improve this answer















While slurs and ties look pretty well the same, it's straightforward. Connecting two notes of different pitch, they're slurs; connecting two notes of the same pitch, they're ties. So, the bottom notes in each stave are held over, the B and D on top converge to C, and the F at the bottom drops to E.







share|improve this answer














share|improve this answer



share|improve this answer








edited yesterday









Brian THOMAS

2,7591123




2,7591123










answered yesterday









TimTim

103k10107259




103k10107259








  • 1





    @replete - seems like keep it simple wasn't too successful!

    – Tim
    yesterday














  • 1





    @replete - seems like keep it simple wasn't too successful!

    – Tim
    yesterday








1




1





@replete - seems like keep it simple wasn't too successful!

– Tim
yesterday





@replete - seems like keep it simple wasn't too successful!

– Tim
yesterday











2














We use those curved lines in music for three different purposes:




  1. Extending duration (ties) - the notes involved must be the same pitch, and only two notes can be joined by a tie. If you want a duration that requires three notes to indicate, you need two ties, one for notes 1-2 and another for notes 2-3.


  2. Indicating an articulation (slur) - for those instruments that can change pitch without a new attack (e.g. a clarinet changing fingering without tonguing) it means using a single attack produced both pitches. For instruments that require a new attack for each note, like the piano, it's an indication that the sounds should be connected as smoothly as possible.


  3. Indicating a phrase ("legato line" or "phrase mark"). This is a little fuzzier... it indicates a smooth connection of the notes, saying they should be played in a legato manner - hence "legato line". It generally extends over a musical phrase - hence the term "phrase mark". Because there are two different interpretations, some composers have created additional symbols (like a dashed line to indicate a phrase that is not legato). Unlike the tie and slur, a single legato line or phrase mark connects more than two notes.







share|improve this answer
























  • There's another use: to denote text underlay in vocal music, by indicating which notes belong to a given syllable. Many people misinterpret such marks as indicating an articulation.

    – phoog
    yesterday
















2














We use those curved lines in music for three different purposes:




  1. Extending duration (ties) - the notes involved must be the same pitch, and only two notes can be joined by a tie. If you want a duration that requires three notes to indicate, you need two ties, one for notes 1-2 and another for notes 2-3.


  2. Indicating an articulation (slur) - for those instruments that can change pitch without a new attack (e.g. a clarinet changing fingering without tonguing) it means using a single attack produced both pitches. For instruments that require a new attack for each note, like the piano, it's an indication that the sounds should be connected as smoothly as possible.


  3. Indicating a phrase ("legato line" or "phrase mark"). This is a little fuzzier... it indicates a smooth connection of the notes, saying they should be played in a legato manner - hence "legato line". It generally extends over a musical phrase - hence the term "phrase mark". Because there are two different interpretations, some composers have created additional symbols (like a dashed line to indicate a phrase that is not legato). Unlike the tie and slur, a single legato line or phrase mark connects more than two notes.







share|improve this answer
























  • There's another use: to denote text underlay in vocal music, by indicating which notes belong to a given syllable. Many people misinterpret such marks as indicating an articulation.

    – phoog
    yesterday














2












2








2







We use those curved lines in music for three different purposes:




  1. Extending duration (ties) - the notes involved must be the same pitch, and only two notes can be joined by a tie. If you want a duration that requires three notes to indicate, you need two ties, one for notes 1-2 and another for notes 2-3.


  2. Indicating an articulation (slur) - for those instruments that can change pitch without a new attack (e.g. a clarinet changing fingering without tonguing) it means using a single attack produced both pitches. For instruments that require a new attack for each note, like the piano, it's an indication that the sounds should be connected as smoothly as possible.


  3. Indicating a phrase ("legato line" or "phrase mark"). This is a little fuzzier... it indicates a smooth connection of the notes, saying they should be played in a legato manner - hence "legato line". It generally extends over a musical phrase - hence the term "phrase mark". Because there are two different interpretations, some composers have created additional symbols (like a dashed line to indicate a phrase that is not legato). Unlike the tie and slur, a single legato line or phrase mark connects more than two notes.







share|improve this answer













We use those curved lines in music for three different purposes:




  1. Extending duration (ties) - the notes involved must be the same pitch, and only two notes can be joined by a tie. If you want a duration that requires three notes to indicate, you need two ties, one for notes 1-2 and another for notes 2-3.


  2. Indicating an articulation (slur) - for those instruments that can change pitch without a new attack (e.g. a clarinet changing fingering without tonguing) it means using a single attack produced both pitches. For instruments that require a new attack for each note, like the piano, it's an indication that the sounds should be connected as smoothly as possible.


  3. Indicating a phrase ("legato line" or "phrase mark"). This is a little fuzzier... it indicates a smooth connection of the notes, saying they should be played in a legato manner - hence "legato line". It generally extends over a musical phrase - hence the term "phrase mark". Because there are two different interpretations, some composers have created additional symbols (like a dashed line to indicate a phrase that is not legato). Unlike the tie and slur, a single legato line or phrase mark connects more than two notes.








share|improve this answer












share|improve this answer



share|improve this answer










answered yesterday









Tom SerbTom Serb

1,054110




1,054110













  • There's another use: to denote text underlay in vocal music, by indicating which notes belong to a given syllable. Many people misinterpret such marks as indicating an articulation.

    – phoog
    yesterday



















  • There's another use: to denote text underlay in vocal music, by indicating which notes belong to a given syllable. Many people misinterpret such marks as indicating an articulation.

    – phoog
    yesterday

















There's another use: to denote text underlay in vocal music, by indicating which notes belong to a given syllable. Many people misinterpret such marks as indicating an articulation.

– phoog
yesterday





There's another use: to denote text underlay in vocal music, by indicating which notes belong to a given syllable. Many people misinterpret such marks as indicating an articulation.

– phoog
yesterday











1














Some people will tell you that slurs connecting the same pitch are actually ties and do not warrant sounding the same note again. That is, of course, wrong. If there is any length-indicating articulatory mark on the first note (like a tenuto bar or a staccato dot), obviously the note has to be sounded differently. But there are also other cases, like the following extract from the Ciaconna of Bach's solo violin Partita 2 (this is in 3/4 time, execution a double stop on both G and D string followed by alternating uses of open A string and fingered D string):Bach Ciaconna (Urtext). Here it is glaringly obvious that the notes connected with a slur and with the same pitch cannot possibly be intended as ties since they are spread across two different strings (and thus have to be sounded twice) and since playing them as ties would be completely out of character for the passage.



Even when playing this on the piano, you would most certainly sound the respective notes twice. So you should always look for all available clues before making the tie/slur decision. It is not as easy as "same pitch -> tie".






share|improve this answer


























  • There's something wrong there: I count seven up-flag notes and six down-flag. What do violinists here interpret that as? Are the first 2 up-flag notes supposed to be 32nd notes and the publisher goofed? Because if so, the down-up tied pair just indicates playing unison double-stop, and a pianist would re-strike only because the upper line re-attacks the note.

    – Carl Witthoft
    yesterday











  • Ultimately, I fear you are confusing (slurs and ties) with phrasing marks .

    – Carl Witthoft
    yesterday











  • @CarlWitthoft As a violist... this line is completely illegible. I think maybe the publisher was trying to avoid stacking notes, but the result is impossible to decipher.

    – chrylis
    yesterday











  • Biggest clue here is that it's written in two voices. However badly.

    – Tim
    yesterday











  • @CarlWitthoft there are twelve 16th notes distributed across two voices (without rests). The first is a double stop, which is why there are seven up flags. In this case the slurs indicate bowing: notes under a single slur are to be played with one stroke of the bow. So there are three downbows and three upbows in the measure.

    – phoog
    yesterday
















1














Some people will tell you that slurs connecting the same pitch are actually ties and do not warrant sounding the same note again. That is, of course, wrong. If there is any length-indicating articulatory mark on the first note (like a tenuto bar or a staccato dot), obviously the note has to be sounded differently. But there are also other cases, like the following extract from the Ciaconna of Bach's solo violin Partita 2 (this is in 3/4 time, execution a double stop on both G and D string followed by alternating uses of open A string and fingered D string):Bach Ciaconna (Urtext). Here it is glaringly obvious that the notes connected with a slur and with the same pitch cannot possibly be intended as ties since they are spread across two different strings (and thus have to be sounded twice) and since playing them as ties would be completely out of character for the passage.



Even when playing this on the piano, you would most certainly sound the respective notes twice. So you should always look for all available clues before making the tie/slur decision. It is not as easy as "same pitch -> tie".






share|improve this answer


























  • There's something wrong there: I count seven up-flag notes and six down-flag. What do violinists here interpret that as? Are the first 2 up-flag notes supposed to be 32nd notes and the publisher goofed? Because if so, the down-up tied pair just indicates playing unison double-stop, and a pianist would re-strike only because the upper line re-attacks the note.

    – Carl Witthoft
    yesterday











  • Ultimately, I fear you are confusing (slurs and ties) with phrasing marks .

    – Carl Witthoft
    yesterday











  • @CarlWitthoft As a violist... this line is completely illegible. I think maybe the publisher was trying to avoid stacking notes, but the result is impossible to decipher.

    – chrylis
    yesterday











  • Biggest clue here is that it's written in two voices. However badly.

    – Tim
    yesterday











  • @CarlWitthoft there are twelve 16th notes distributed across two voices (without rests). The first is a double stop, which is why there are seven up flags. In this case the slurs indicate bowing: notes under a single slur are to be played with one stroke of the bow. So there are three downbows and three upbows in the measure.

    – phoog
    yesterday














1












1








1







Some people will tell you that slurs connecting the same pitch are actually ties and do not warrant sounding the same note again. That is, of course, wrong. If there is any length-indicating articulatory mark on the first note (like a tenuto bar or a staccato dot), obviously the note has to be sounded differently. But there are also other cases, like the following extract from the Ciaconna of Bach's solo violin Partita 2 (this is in 3/4 time, execution a double stop on both G and D string followed by alternating uses of open A string and fingered D string):Bach Ciaconna (Urtext). Here it is glaringly obvious that the notes connected with a slur and with the same pitch cannot possibly be intended as ties since they are spread across two different strings (and thus have to be sounded twice) and since playing them as ties would be completely out of character for the passage.



Even when playing this on the piano, you would most certainly sound the respective notes twice. So you should always look for all available clues before making the tie/slur decision. It is not as easy as "same pitch -> tie".






share|improve this answer















Some people will tell you that slurs connecting the same pitch are actually ties and do not warrant sounding the same note again. That is, of course, wrong. If there is any length-indicating articulatory mark on the first note (like a tenuto bar or a staccato dot), obviously the note has to be sounded differently. But there are also other cases, like the following extract from the Ciaconna of Bach's solo violin Partita 2 (this is in 3/4 time, execution a double stop on both G and D string followed by alternating uses of open A string and fingered D string):Bach Ciaconna (Urtext). Here it is glaringly obvious that the notes connected with a slur and with the same pitch cannot possibly be intended as ties since they are spread across two different strings (and thus have to be sounded twice) and since playing them as ties would be completely out of character for the passage.



Even when playing this on the piano, you would most certainly sound the respective notes twice. So you should always look for all available clues before making the tie/slur decision. It is not as easy as "same pitch -> tie".







share|improve this answer














share|improve this answer



share|improve this answer








edited yesterday









Community

1




1










answered yesterday







user58491




















  • There's something wrong there: I count seven up-flag notes and six down-flag. What do violinists here interpret that as? Are the first 2 up-flag notes supposed to be 32nd notes and the publisher goofed? Because if so, the down-up tied pair just indicates playing unison double-stop, and a pianist would re-strike only because the upper line re-attacks the note.

    – Carl Witthoft
    yesterday











  • Ultimately, I fear you are confusing (slurs and ties) with phrasing marks .

    – Carl Witthoft
    yesterday











  • @CarlWitthoft As a violist... this line is completely illegible. I think maybe the publisher was trying to avoid stacking notes, but the result is impossible to decipher.

    – chrylis
    yesterday











  • Biggest clue here is that it's written in two voices. However badly.

    – Tim
    yesterday











  • @CarlWitthoft there are twelve 16th notes distributed across two voices (without rests). The first is a double stop, which is why there are seven up flags. In this case the slurs indicate bowing: notes under a single slur are to be played with one stroke of the bow. So there are three downbows and three upbows in the measure.

    – phoog
    yesterday



















  • There's something wrong there: I count seven up-flag notes and six down-flag. What do violinists here interpret that as? Are the first 2 up-flag notes supposed to be 32nd notes and the publisher goofed? Because if so, the down-up tied pair just indicates playing unison double-stop, and a pianist would re-strike only because the upper line re-attacks the note.

    – Carl Witthoft
    yesterday











  • Ultimately, I fear you are confusing (slurs and ties) with phrasing marks .

    – Carl Witthoft
    yesterday











  • @CarlWitthoft As a violist... this line is completely illegible. I think maybe the publisher was trying to avoid stacking notes, but the result is impossible to decipher.

    – chrylis
    yesterday











  • Biggest clue here is that it's written in two voices. However badly.

    – Tim
    yesterday











  • @CarlWitthoft there are twelve 16th notes distributed across two voices (without rests). The first is a double stop, which is why there are seven up flags. In this case the slurs indicate bowing: notes under a single slur are to be played with one stroke of the bow. So there are three downbows and three upbows in the measure.

    – phoog
    yesterday

















There's something wrong there: I count seven up-flag notes and six down-flag. What do violinists here interpret that as? Are the first 2 up-flag notes supposed to be 32nd notes and the publisher goofed? Because if so, the down-up tied pair just indicates playing unison double-stop, and a pianist would re-strike only because the upper line re-attacks the note.

– Carl Witthoft
yesterday





There's something wrong there: I count seven up-flag notes and six down-flag. What do violinists here interpret that as? Are the first 2 up-flag notes supposed to be 32nd notes and the publisher goofed? Because if so, the down-up tied pair just indicates playing unison double-stop, and a pianist would re-strike only because the upper line re-attacks the note.

– Carl Witthoft
yesterday













Ultimately, I fear you are confusing (slurs and ties) with phrasing marks .

– Carl Witthoft
yesterday





Ultimately, I fear you are confusing (slurs and ties) with phrasing marks .

– Carl Witthoft
yesterday













@CarlWitthoft As a violist... this line is completely illegible. I think maybe the publisher was trying to avoid stacking notes, but the result is impossible to decipher.

– chrylis
yesterday





@CarlWitthoft As a violist... this line is completely illegible. I think maybe the publisher was trying to avoid stacking notes, but the result is impossible to decipher.

– chrylis
yesterday













Biggest clue here is that it's written in two voices. However badly.

– Tim
yesterday





Biggest clue here is that it's written in two voices. However badly.

– Tim
yesterday













@CarlWitthoft there are twelve 16th notes distributed across two voices (without rests). The first is a double stop, which is why there are seven up flags. In this case the slurs indicate bowing: notes under a single slur are to be played with one stroke of the bow. So there are three downbows and three upbows in the measure.

– phoog
yesterday





@CarlWitthoft there are twelve 16th notes distributed across two voices (without rests). The first is a double stop, which is why there are seven up flags. In this case the slurs indicate bowing: notes under a single slur are to be played with one stroke of the bow. So there are three downbows and three upbows in the measure.

– phoog
yesterday











-2














Those are double slurs used for joining chords. Ties would not have the same amount of curvature, and if you had different behavior intended for moving and staying notes, you'd use separate stems to indicate separate voicing. Of course, differences are subtle and it depends on who engraved those notes: it is pretty common for people using notation programs to use slurs for everything, so the differences are hard to rely upon. Here is some LilyPond code and output:



version "2.19.82"

global =
{ key f major
omit time 4/4
}

<< { global <>^"Slurs" <g' b' d''>2^(_( <g' c''>4) r4
<>^"Ties" <g' b' d''>2^(_~ <g' c''>4) r4
<>^"Voiced Ties" << { <b' d''>2( c''4) } \ { g'2~ g'4 } >> r4
<>^"Full voicing" << { <b' d''>2( c''4) } \ { g'2. } >> r4 }
{ global clef "bass" <c' f'>2^(_( <c' e'>4) r4
<c' f'>2^(_~ <c' e'>4) r4
<< { f'2( e'4) } \ { c'2~4 } >> r4
<< { f'2( e'4) } \ { c'2. } >> r4 }
>>


LilyPond results






share|improve this answer



















  • 1





    The difference has nothing to do with the amount of curvature. The only thing that matters is the pitch of the notes. You cannot "slur" to the same pitch.

    – Tom Serb
    yesterday











  • @TomSerb - look carefully, there is a slight difference between the curves. However, that's in the printing to join the dots, so to speak. Nothing really to do with slurs and ties really.

    – Tim
    yesterday











  • @Tim - curvature has nothing to do with whether it is a tie or a slur. The curvature will be different for different durations or interval sizes (because the notes are farther apart horizontally or vertically). The goal of the copyist is to make the music as clear as possible, which requires flexibility in the curvature.

    – Tom Serb
    yesterday











  • @TomSerb - you're correct, of course. It's just a fact that for the same space between any two dots, a slur will be slightly more curved than a tie. Probably due to the engraving process. But it's hardly a deciding factor.

    – Tim
    yesterday













  • Thanks guys. I’m only a beginner, I still not really sure after reading your answers. The G on the treble clef and C on the bass clef, are they connected with a tie or a slur?

    – Shelley Lee
    yesterday
















-2














Those are double slurs used for joining chords. Ties would not have the same amount of curvature, and if you had different behavior intended for moving and staying notes, you'd use separate stems to indicate separate voicing. Of course, differences are subtle and it depends on who engraved those notes: it is pretty common for people using notation programs to use slurs for everything, so the differences are hard to rely upon. Here is some LilyPond code and output:



version "2.19.82"

global =
{ key f major
omit time 4/4
}

<< { global <>^"Slurs" <g' b' d''>2^(_( <g' c''>4) r4
<>^"Ties" <g' b' d''>2^(_~ <g' c''>4) r4
<>^"Voiced Ties" << { <b' d''>2( c''4) } \ { g'2~ g'4 } >> r4
<>^"Full voicing" << { <b' d''>2( c''4) } \ { g'2. } >> r4 }
{ global clef "bass" <c' f'>2^(_( <c' e'>4) r4
<c' f'>2^(_~ <c' e'>4) r4
<< { f'2( e'4) } \ { c'2~4 } >> r4
<< { f'2( e'4) } \ { c'2. } >> r4 }
>>


LilyPond results






share|improve this answer



















  • 1





    The difference has nothing to do with the amount of curvature. The only thing that matters is the pitch of the notes. You cannot "slur" to the same pitch.

    – Tom Serb
    yesterday











  • @TomSerb - look carefully, there is a slight difference between the curves. However, that's in the printing to join the dots, so to speak. Nothing really to do with slurs and ties really.

    – Tim
    yesterday











  • @Tim - curvature has nothing to do with whether it is a tie or a slur. The curvature will be different for different durations or interval sizes (because the notes are farther apart horizontally or vertically). The goal of the copyist is to make the music as clear as possible, which requires flexibility in the curvature.

    – Tom Serb
    yesterday











  • @TomSerb - you're correct, of course. It's just a fact that for the same space between any two dots, a slur will be slightly more curved than a tie. Probably due to the engraving process. But it's hardly a deciding factor.

    – Tim
    yesterday













  • Thanks guys. I’m only a beginner, I still not really sure after reading your answers. The G on the treble clef and C on the bass clef, are they connected with a tie or a slur?

    – Shelley Lee
    yesterday














-2












-2








-2







Those are double slurs used for joining chords. Ties would not have the same amount of curvature, and if you had different behavior intended for moving and staying notes, you'd use separate stems to indicate separate voicing. Of course, differences are subtle and it depends on who engraved those notes: it is pretty common for people using notation programs to use slurs for everything, so the differences are hard to rely upon. Here is some LilyPond code and output:



version "2.19.82"

global =
{ key f major
omit time 4/4
}

<< { global <>^"Slurs" <g' b' d''>2^(_( <g' c''>4) r4
<>^"Ties" <g' b' d''>2^(_~ <g' c''>4) r4
<>^"Voiced Ties" << { <b' d''>2( c''4) } \ { g'2~ g'4 } >> r4
<>^"Full voicing" << { <b' d''>2( c''4) } \ { g'2. } >> r4 }
{ global clef "bass" <c' f'>2^(_( <c' e'>4) r4
<c' f'>2^(_~ <c' e'>4) r4
<< { f'2( e'4) } \ { c'2~4 } >> r4
<< { f'2( e'4) } \ { c'2. } >> r4 }
>>


LilyPond results






share|improve this answer













Those are double slurs used for joining chords. Ties would not have the same amount of curvature, and if you had different behavior intended for moving and staying notes, you'd use separate stems to indicate separate voicing. Of course, differences are subtle and it depends on who engraved those notes: it is pretty common for people using notation programs to use slurs for everything, so the differences are hard to rely upon. Here is some LilyPond code and output:



version "2.19.82"

global =
{ key f major
omit time 4/4
}

<< { global <>^"Slurs" <g' b' d''>2^(_( <g' c''>4) r4
<>^"Ties" <g' b' d''>2^(_~ <g' c''>4) r4
<>^"Voiced Ties" << { <b' d''>2( c''4) } \ { g'2~ g'4 } >> r4
<>^"Full voicing" << { <b' d''>2( c''4) } \ { g'2. } >> r4 }
{ global clef "bass" <c' f'>2^(_( <c' e'>4) r4
<c' f'>2^(_~ <c' e'>4) r4
<< { f'2( e'4) } \ { c'2~4 } >> r4
<< { f'2( e'4) } \ { c'2. } >> r4 }
>>


LilyPond results







share|improve this answer












share|improve this answer



share|improve this answer










answered yesterday







user58490















  • 1





    The difference has nothing to do with the amount of curvature. The only thing that matters is the pitch of the notes. You cannot "slur" to the same pitch.

    – Tom Serb
    yesterday











  • @TomSerb - look carefully, there is a slight difference between the curves. However, that's in the printing to join the dots, so to speak. Nothing really to do with slurs and ties really.

    – Tim
    yesterday











  • @Tim - curvature has nothing to do with whether it is a tie or a slur. The curvature will be different for different durations or interval sizes (because the notes are farther apart horizontally or vertically). The goal of the copyist is to make the music as clear as possible, which requires flexibility in the curvature.

    – Tom Serb
    yesterday











  • @TomSerb - you're correct, of course. It's just a fact that for the same space between any two dots, a slur will be slightly more curved than a tie. Probably due to the engraving process. But it's hardly a deciding factor.

    – Tim
    yesterday













  • Thanks guys. I’m only a beginner, I still not really sure after reading your answers. The G on the treble clef and C on the bass clef, are they connected with a tie or a slur?

    – Shelley Lee
    yesterday














  • 1





    The difference has nothing to do with the amount of curvature. The only thing that matters is the pitch of the notes. You cannot "slur" to the same pitch.

    – Tom Serb
    yesterday











  • @TomSerb - look carefully, there is a slight difference between the curves. However, that's in the printing to join the dots, so to speak. Nothing really to do with slurs and ties really.

    – Tim
    yesterday











  • @Tim - curvature has nothing to do with whether it is a tie or a slur. The curvature will be different for different durations or interval sizes (because the notes are farther apart horizontally or vertically). The goal of the copyist is to make the music as clear as possible, which requires flexibility in the curvature.

    – Tom Serb
    yesterday











  • @TomSerb - you're correct, of course. It's just a fact that for the same space between any two dots, a slur will be slightly more curved than a tie. Probably due to the engraving process. But it's hardly a deciding factor.

    – Tim
    yesterday













  • Thanks guys. I’m only a beginner, I still not really sure after reading your answers. The G on the treble clef and C on the bass clef, are they connected with a tie or a slur?

    – Shelley Lee
    yesterday








1




1





The difference has nothing to do with the amount of curvature. The only thing that matters is the pitch of the notes. You cannot "slur" to the same pitch.

– Tom Serb
yesterday





The difference has nothing to do with the amount of curvature. The only thing that matters is the pitch of the notes. You cannot "slur" to the same pitch.

– Tom Serb
yesterday













@TomSerb - look carefully, there is a slight difference between the curves. However, that's in the printing to join the dots, so to speak. Nothing really to do with slurs and ties really.

– Tim
yesterday





@TomSerb - look carefully, there is a slight difference between the curves. However, that's in the printing to join the dots, so to speak. Nothing really to do with slurs and ties really.

– Tim
yesterday













@Tim - curvature has nothing to do with whether it is a tie or a slur. The curvature will be different for different durations or interval sizes (because the notes are farther apart horizontally or vertically). The goal of the copyist is to make the music as clear as possible, which requires flexibility in the curvature.

– Tom Serb
yesterday





@Tim - curvature has nothing to do with whether it is a tie or a slur. The curvature will be different for different durations or interval sizes (because the notes are farther apart horizontally or vertically). The goal of the copyist is to make the music as clear as possible, which requires flexibility in the curvature.

– Tom Serb
yesterday













@TomSerb - you're correct, of course. It's just a fact that for the same space between any two dots, a slur will be slightly more curved than a tie. Probably due to the engraving process. But it's hardly a deciding factor.

– Tim
yesterday







@TomSerb - you're correct, of course. It's just a fact that for the same space between any two dots, a slur will be slightly more curved than a tie. Probably due to the engraving process. But it's hardly a deciding factor.

– Tim
yesterday















Thanks guys. I’m only a beginner, I still not really sure after reading your answers. The G on the treble clef and C on the bass clef, are they connected with a tie or a slur?

– Shelley Lee
yesterday





Thanks guys. I’m only a beginner, I still not really sure after reading your answers. The G on the treble clef and C on the bass clef, are they connected with a tie or a slur?

– Shelley Lee
yesterday


















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