I originally learned that staccato under a slur indicated “half-tonguing” to a wind player: “tah-dah” as opposed to “tah-kah”.
Since I have been told that tenuto under a slur meant much the same thing.
Had not come up against a combination of staccato & tenuto except in keyboard (piano) before this.
(Am interesting in learning more.)
Tenuto under a slur often means ‘portato’ to strings.
I’ve seen staccato-tenuto to indicate detaché.
The original poster I thought wanted a tenuto stress on the first of a tie with a staccato shortening on the note at the end.
No problem. No offence taken. BCP = Book of Common Prayer, which uses the term “Lord, hear our prayer” from time to time.
Joking aside, I do think the notation is overwrought, capable of different interpretations, and may cause some players to stumble in deciphering it. However, the words used to mimic the intended ariculations were perfectly chosen – in more senses than one!
David
Funny: I’ve learned that staccato under a slur means ‘portato’ to wind players 
Here is an other example from a printed score (John Williams film music score), where a staccato is on a tied note.
I know that Dorico has the concept, that tied notes start at the very first note and then “the remaining duration is just filled with notes”.
I agree, that in most of the cases this is true, but there are a certain amount of exceptions.
As well it annoys me that one still cannot select from within a tied note. I always have to cut the tied note, select and copy the part that I need and then re-tie them together. So when I copy a handwritten score e.g. I have to see, that I do all copy operations of unisono instruments before I tie the notes. Otherwise I cannot select anything within a longer tied note. And doing this increases the chance, that I forget to tie all notes at the end. Hmm…
I hope that having to cut ties is not a long term solution. It grates either being told what order to input items, or having to undo work already done to do add something else.
Is this from Indiana Jones? 
either way, this is an accent tied to a staccato. Accent+stacc is possible in Dorico and shows up correctly; tenuto+staccato does not.
I wonder why WIlliams found a staccato necessary. The note after the tie is already shorter than the accented quaver. If he wanted a demisemiquaver, why didnt he just write that?
That being said, there can be no objection to a staccato note after a tie, and I sympathise with someone who uses this kind of thing a lot and cannot add a staccato dot without first temporarily removing the tie.
Perhaps it would be possible for Dorico to have two basic notational options:
Normal, or conventional, mode (as at present)
Gerard Hoffnung mode (in which any combination of musical glyphs is allowed).
That should satisfy everyone!
David
You say portato; I say portayto.
(Let’s call the whole thing off?) 
articulation is an interesting issue.
There is a computer way of describing it, it puts it down to volume, attack, decay and some more variables.
And there is a way of describing it as words of a language, all the different ways consonants and vowels can be used to produced words, sentences… in 100s of languages
When notating these articulations one needs a lot of phantasy and sometimes unusual ways of combining signs to give musicians ideas.
I just found a related issue - there doesn’t seem to be a way to add an accent to the 2nd tied note, such as you might want on a crescendo to a final note, see for example attached.
… suggestions?
thank you!
In the properties panel, you can tell Dorico where to put the articulation in the tie chain (first note/last note).
Robby
wow - thanks! So that solves for the accent, but still doesn’t solve for the question which began this thread. Still, it’s a start. Thank you!
+1 for this. I’m transcribing a score with this kind of articulation, so it exists in the repertoire.