(Table 9)

9.1. The tie is placed immediately after the first of the two tied notes, or after any slur, fingering or tremolo indications connected with this note. It also follows the dot in the case of dotted notes. (See also Par. 16.9.)

Example 9.1-1.


.:@C :\$ :??@C ?.[.?@C ?W<K

9.2. The rule for tied notes inflected by accidentals is the same as that in print, i.e., when an inflected note is tied over a bar line the accidental is not re-marked in the new measure for the second of the two tied notes, unless this note is on a different staff from the first.

Example 9.2-1.


.?@C ?W<W@C W[<[@C [\<IG P<K

9.3. In bar-over-bar or open score format, all ties are restated at the beginning of a new parallel, and of a new page, as well as after a major interruption, such as a long parenthetical expression, light double bar, volta, etc. Restatement is unnecessary at the commencement of a run-over line. In single line instrumental music, restatement is recommended at the beginning of a new section or segment. Restatement is unnecessary for a run-over line unless it constitutes the beginning of a page. Restatement of the tie in vocal music is discussed in section 22. These reminder ties precede all other signs, except marginal measure numbers, hand signs, clefs, strain repeats, and time or key signatures.

9.4. As the print sign for the tie is identical with that for the slur, some confusion is liable to occur in such a case as the following:

Example 9.4-1.




(Here the fingering in the print shows that the sign is not a tie but a slur giving a special effect.)

9.5. The tie for a chord is used when more than one note is tied between two chords. In the following example (a) shows the tie used for a complete chord; (b) its use between chords in which some of the notes are not tied.

Example 9.5-1.


(a) .>.N#0-.CD#0-XV<K


(b) .>.N#0-.CN+9-.C .N#93.C"

"T+@C#0 .Y#0-<K

9.5.1. If one or more of the notes of two successive chords are repeated while the others remain tied, the sign @C must be used for each tied note or interval.

Example 9.5.1-1.


.>.N@C#0-@CN#@C0@C- .Y#0-<K

9.6. If two chords are tied in a succession of chords written with doubled intervals, the doubling need not be interrupted.

Example 9.6-1.


.>.D##00.C .DJI.CIH.G.C .GFE?#0<K

9.7. The sign .C may itself be doubled, but in that case the doubling is shown as in the following example.

Example 9.7-1.


.>.N#0.CC .N#3T+0 "T#0S+9

"S+3.CR@C/0 "R+9<K

(The restatement of a chord tie follows the same rules as those given in Par. 9.3.)

9.8. In music for instruments which are struck, plucked or otherwise activated by a single stroke, yet are capable of a lingering, though dying sound, ties are sometimes used, even though followed by rests. This would apply to such percussion instruments as chimes, triangles and cymbals as well as string instruments which are plucked. Wherever the print clearly calls for a tie which ties to nothing, the braille should follow suit.

9.9. When notes are tied to corresponding pitches which are clearly implied but not written in the print copy, the implied notes in their proper values should be indicated in the braille copy. In facsimile transcription, an asterisk (Table 17) should precede such notes, referring to a transcriber's note which might be worded as follows: "Though these notes are not shown in the print original, the intent is clear."

Example 9.9-1.

BA .> #F8 @C.:'@C:HC<>@C"S'@C

_> #F8 .C^O'_+.C<>@C"$H^C.:'

BB .> #D8 ;:"1@C"[.KX>MP.F<K

_> #D8 .C^:_+"#-*CXX<K

9.10. The accumulating arpeggio is written as shown in the following example. A chord tie is inserted between the last note of the arpeggio and the resulting chord.

Example 9.10-1.


(print) "H@CJ@CE@CG@CR/#0-<K

(braille) "H^CJEG.CR/#0-<K

9.10.1. The chord tie indicates the end of the accumulating arpeggio. In the following example the arpeggio is not tied over to the chord.

Example 9.10.1-1.


(print) "H@CJ@CE@CGR/#0-<K

(braille) "H^CJE.CGR/#0-<K