Articulation, Accents, Hairpins
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b. 41
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composition: Op. 29, Impromptu in A♭ major
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EE and FE are lacking the staccato indication over d category imprint: Differences between sources |
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b. 42
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composition: Op. 29, Impromptu in A♭ major
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The range of the diminuendo hairpins is slightly varied. A has the hairpins beginning on the 2nd beat of the bar, similarly as in FE. In GE the hairpins begin just after the minim and end before the last value of the bar. In EE the hairpins are led to the last note. We adopt the concordant notation of A and FE. category imprint: Graphic ambiguousness; Differences between sources issues: Scope of dynamic hairpins |
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b. 46
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composition: Op. 29, Impromptu in A♭ major
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The clearly long accent in A was recreated as short in GE and FE. In EE the accent was undoubtedly omitted. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 48
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composition: Op. 29, Impromptu in A♭ major
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In this context the long accent seems to be more plausible in terms of interpreting the sign in A. In GE there is a short accent (same as in the entire Impromptu), while in FE and EE the accents were omitted. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 51
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composition: Op. 29, Impromptu in A♭ major
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The long accent in A was interpreted as short in GE and FE. EE is lacking the accent – it is probably an oversight. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
2 in bar 41. In this context (inside the slur), the dot may imply a temporary suspension of the legato articulation, while maintaining the continuity of thinking in a longer phrase. 
