-@anchor{Ties}
-@unnumberedsubsubsec Ties
-
-@cindex tie
-@funindex ~
-
-A tie connects two adjacent note heads of the same pitch. The tie in
-effect extends the length of a note. Ties should not be confused with
-slurs, which indicate articulation, or phrasing slurs, which indicate
-musical phrasing. A tie is entered using the tilde symbol @samp{~}
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-e' ~ e' <c' e' g'> ~ <c' e' g'>
-@end lilypond
-
-When a tie is applied to a chord, all note heads whose pitches match
-are connected. When no note heads match, no ties will be created. Chords
-may be partially tied by placing the tie inside the chord,
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-<c~ e g~ b> <c e g b>
-@end lilypond
-
-A tie is just a way of extending a note duration, similar to the
-augmentation dot. The following example shows two ways of notating
-exactly the same concept
-
-@lilypond[quote,fragment,ragged-right]
-\time 3/4 c'2. c'2 ~ c'4
-@end lilypond
-
-@noindent
-Ties are used either when the note crosses a bar line, or when dots
-cannot be used to denote the rhythm. When using ties, larger note
-values should be aligned to subdivisions of the measure, such as
-
-@lilypond[fragment,quote,ragged-right]
-\relative {
- r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
-}
-@end lilypond
-
-If you need to tie a lot of notes over bars, it may be easier to use
-automatic note splitting (see @ref{Automatic note splitting}). This
-mechanism automatically splits long notes, and ties them across bar
-lines.
-
-@funindex \repeatTie
-
-When a second alternative of a repeat starts with a tied note, you
-have to repeat the tie. This can be achieved with @code{\repeatTie},
-
-@lilypond[fragment,quote,ragged-right,relative=2]
-r <c e g>\repeatTie
-@end lilypond
-
-@cindex repeating ties
-@cindex volta brackets and ties
-
-@commonprop
-
-Ties are sometimes used to write out arpeggios. In this case, two tied
-notes need not be consecutive. This can be achieved by setting the
-@code{tieWaitForNote} property to true. The same feature is also useful,
-for example, to tie a tremolo to a chord. For example,
-
-@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
-\set tieWaitForNote = ##t
-\grace { c16[~ e~ g]~ } <c, e g>2
-\repeat tremolo 8 { c32~ c'~ } <c c,>1
-e8~ c~ a~ f~ <e' c a f>2
-@end lilypond
-
-Ties may be engraved manually by changing the @code{tie-configuration}
-property. The first number indicates the distance from the center
-of the staff in staff-spaces, and the second number indicates the
-direction (1=up, -1=down).
-
-@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
-<c e g>2~ <c e g> |
-\override TieColumn #'tie-configuration =
- #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
-<c e g>~ <c e g> |
-@end lilypond
-
-
-@refcommands
-
-
-@funindex \tieUp
-@code{\tieUp},
-@funindex \tieDown
-@code{\tieDown},
-@funindex \tieNeutral
-@code{\tieNeutral},
-@funindex \tieDotted
-@code{\tieDotted},
-@funindex \tieDashed
-@code{\tieDashed},
-@funindex \tieSolid
-@code{\tieSolid}.
-
-
-@seealso
-
-In this manual: @ref{Automatic note splitting}.
-
-Program reference: @internalsref{Tie}.
-
-
-@refbugs
-
-Switching staves when a tie is active will not produce a slanted tie.
-
-Changing clefs or octavations during a tie is not really
-well-defined. In these cases, a slur may be preferable.
-
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