Re: tie over clef change

[Lukas-Fabian Moser]

> I seem to remember that even in Bach's B minor mass (where E12 was not
> yet a thing) there is an enharmonic tie (or at least tonal repetition?)
> in the transition from "Confiteor" to "Et expecto".  I mean, that
> transition is a tonal center nightmare anyway.

In bar 138:

Basically that is an example of enharmonic equivalence of diminished 7th 
chords: The tonal centre in the preceding bars is clearly d (d major 
with hints of d minor), so the diminished chord in bar 138 is most 
probably first heard as f♯-a-c-e♭ (with expected resolution to g minor), 
but is then being re-interpreted (and written) as f♯-a-b♯-d♯, resolving 
to c♯ major functioning as a dominant to f♯ minor.

My point is: Even without E12 tuning, this is clearly an example of 
fully exploited enharmonic equivalence used as a "wormhole" in an 
otherwise purely diatonic tonal system. There can be no question that 
this is semantically a tie.

(One might raise the objection that, maybe, when performing the piece, a 
slight adjustment in intonation might be needed in the transition from c 
to b♯. But this can also happen for bona fide ties in purely diatonic 
music, so that does not yield an argument against the tie being a tie.)

Lukas