Articulation, Accents, Hairpins
|
b. 10-12
|
composition: Op. 29, Impromptu in A♭ major
category imprint: Differences between sources issues: Long accents |
||||||||||
|
b. 14
|
composition: Op. 29, Impromptu in A♭ major
..
The sources differ in the range of dynamic hairpins. A's notation is ambiguous ‒ the lower arm is much shorter. Half-bar hairpins of GE are clearly longer than in A, on which the edition was based. It is a typical example of the manner of adjusting marks to the metric units. category imprint: Graphic ambiguousness; Differences between sources |
||||||||||
|
b. 15
|
composition: Op. 29, Impromptu in A♭ major
..
We consider the interpretation of accents in A in bars 15-17 as long ones to be more probable, as they emphasise the imposition of longer rhythmic values (crotchets) on the triplet figuration. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
||||||||||
|
b. 16-17
|
composition: Op. 29, Impromptu in A♭ major
..
We consider the interpretation of A's accents as long to be more probable, as they emphasise the imposition of longer rhythmic values (crotchets) on the triplet figuration. In the editions, all accents were recreated as short ones. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
||||||||||
|
b. 16-17
|
composition: Op. 29, Impromptu in A♭ major
..
We lead the diminuendo hairpins to the penultimate quaver after A. In FE and GE the hairpins are longer in both bars, while in EE they are much shorter in bar 17. category imprint: Differences between sources issues: Scope of dynamic hairpins |
