notes that call
for the same tone. It indicates that they are to be sounded as one tone
having a duration equal to the combined value of both notes. _E.g._, a
half-note tied to a quarter-note would indicate a tone equal in
duration-length to that shown by a dotted half-note; two half-notes tied
would indicate a tone equal in duration to that shown by a whole-note.
(See examples under Sections 49, 50, and 51).

Fig. 30 illustrates the more common variety of tie, while Fig. 31 shows
an example of the _enharmonic[10] tie_.

[Footnote 10: For definition of enharmonic see p. 10, Sec. 27.]

[Illustration: Fig. 30.]

[Illustration: Fig. 31.]

55. The _slur_ is used in so many different ways that it is impossible
to give a general definition. It consists of a curved line, sometimes
very short (in which case it looks like the tie), but sometimes very
long, connecting ten, fifteen, or more notes. Some of the more common
uses of the slur are:

A. _To indicate legato_ (sustained or connected) _tones_, as contrasted
with staccato (detached) ones.

In violin music this implies playing all tones thus slurred in
one bow; in music for the voice and for wind instruments it
implies singing or playing them in one breath.

B. _As a phrase-mark_, in the interpretation of which the first tone of
the phrase is often accented slightly, and the last one shortened in
value.

This interpretation of the phrase is especially common when
the phrase is short (as in the two-note phrase), and when the
tones constituting the phrase are of short duration, _e.g._,
the phrase given in Fig. 32 would be played approximately as
written in Fig. 33.

[Illustration: Fig. 32.]

[Illustration: Fig. 33.]

But if the notes are of greater value, especially in slow
tempi, the slur merely indicates legato, _i.e._, sustained or
connected rendition. Fig. 34 illustrates such a case.

[Illustration: Fig. 34.]

This is a matter of such diverse usage that it is difficult to
generalize regarding it. The tendency seems at present to be
in the direction of using the slur (_in instrumental music_)
as a phrase-mark exclusively, it being understood that unless
there is some direction to the contrary, the tones are to be
performed in a connected manner.

C. In vocal music, to show that two or more tones are to be sung to one
syllable of text. See Fig. 35.

[Illustration: