Articulation, Accents, Hairpins
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b. 26
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composition: Op. 24 No. 3, Mazurka in A♭ major
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The mark in A should clearly be read as a long accent and this is precisely its shape in GE1 (→FE). In EE, the mark was shortened to an ordinary short accent, while in GE2 it was extended to the end of the bar. AI has got no mark here, just like in bar 2. category imprint: Differences between sources; Corrections & alterations issues: Long accents , GE revisions , EE inaccuracies |
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b. 27-32
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composition: Op. 24 No. 3, Mazurka in A♭ major
category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources; Corrections & alterations issues: Long accents , Inaccuracies in GE , EE inaccuracies , Unclear hairpins in A |
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b. 29
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composition: Op. 24 No. 3, Mazurka in A♭ major
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It is hard to regard the mark in A as In bar 29 all the first editions have a staccato dot instead of a wedge. In our main text we rely on AI (→A). The same applies to bars 5 and 9. category imprint: Interpretations within context; Differences between sources issues: Wedges |
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b. 29-33
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composition: Op. 24 No. 3, Mazurka in A♭ major
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A has long accents below the triplets on the 2nd beat in bars 29 & 33. In GE1 (→FE→EE) accents were placed over the R.H. part (a shorter sign in EE certainly reflects an inaccurate accent in FE). In GE2 the notation of A was reinstated, which we also accept as our main text. In AI bars 29 & 33 are notated as a repetition of bars 5 & 9, which have category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in GE , EE inaccuracies |
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b. 32
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In AI where this bar is a repetition of bar 8, no staccato dot can be seen. In A Chopin carefully marked with dots all that kind of bass notes in bars 1-35. category imprint: Differences between sources |
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