Issues : Long accents
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b. 607-611
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composition: Op. 39, Scherzo in C♯ minor
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In bars 607 and 611 in EE, there are (short) accents both in the LH and RH parts. It is uncertain that such a version is authentic (cf. 606-620). The accents in GC (marked in bars 575 and 579) may be interpreted both as long or short. In GE they were read as short ones. For the main text we adopt the long accents of FE. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions |
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b. 617
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composition: Op. 39, Scherzo in C♯ minor
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In the main text we present a short accent based on GC (→GE). In EE the mark is placed below the note, which most probably does not correspond with the manuscript. In FE the accent is long and it is uncertain whether it applies to RH only. category imprint: Differences between sources issues: Long accents |
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b. 619
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composition: Op. 39, Scherzo in C♯ minor
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For the main text we adopt the FE long accent. Chopin many times emphasised a falling minor semitone motif, e.g. in Polonaise E category imprint: Differences between sources issues: Long accents |
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b. 634-636
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composition: Op. 39, Scherzo in C♯ minor
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In the main text the chord are covered with long accents based on EE and FE. The category imprint: Differences between sources issues: Long accents |
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b. 637-642
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composition: Op. 39, Scherzo in C♯ minor
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Just like in the previous three bars, in the main text we present long accents as the same can be found in EE and FE, while the GC notation is ambiguous (GE has short accents). Moreover, bars 634-642 have the same shape in every source. In GC the marks are notated above the LH octaves. It seems little probable this is not consistent with the autograph. However, in GE the accents are notated below the octaves, which makes us cautious when it comes to evaluate the remaining sources, where the accents are placed between the staves. No accents in bars 639, 641-642 in EE might have resulted from negligence. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
, Op. 22, b. 
GC notation is not completely unclear, however it seems more probable to read the marks as short accents. Such is the interpretation of 
