Page: 
Source: 
p. 1, b. 1-18
p. 1, b. 1-18
p. 2, b. 19-33
p. 3, b. 34-50
p. 4, b. 51-68
p. 5, b. 69-84
Main text
Main text
A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - English edition
EE3 - Corrected impression of [EE2]
EE4 - Revised impression of EE3
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Graphic ambiguousness
Interpretations within context
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Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
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No differences
A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - English edition
EE3 - Corrected impression of [EE2]
EE4 - Revised impression of EE3
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  b. 1-6

Possible long accents in A

Possible short accents in A (→FEGE,EE)

Determining which type of accents Chopin had in mind at the time of writing A is not an easy task. The marks have different length, yet it is rather a result of a hasty notation than the will to differentiate them. According to us, this fact supports the decision to consider them as short accents, being the most natural solution in this context. This is how they were reproduced in FE (→GE,EE). Due to the described doubts, we also give long accents as a possible interpretation of A.

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category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents

notation: Articulation, Accents, Hairpins