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Ap abounds in short diminuendo hairpins, which interpreted – according to the appearance – as short or long accents, raise doubts concerning their placement. In the places where the literal interpretation of the signs may, according to us, cast doubts upon their meaning, we propose alternative interpretations, slightly modyfing the signs' size or placement. The problem concerns:
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bars 2 and 10. We consider both signs as short diminuendos due to evident
hairpins in analogous bar 14, as well as due to the presence of 
signs in the previous bars. Moreover, the difference in the signs' placement (on the 4th or 2nd beat of the bar) does not indicate an intention to mark any specific place which could possibly be accentuated; - bars 3-4 and analog. The signs in bars 3-4, and particularly in bars 11-12, seem to resemble diminuendos, those in bars 38-39 – accents;
- bar 18. In this situation diminuendo is a result of both the context and the sign written in FEcor;
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bars 19-23. We consider the signs at the end of bars 19, 21 and 23 as diminuendos (due to the preceding them ), those in bars 22 and 24 as accents related to the harmony and articulation of the chords;
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bars 27-28. Accents related to the slurs in the L.H. and
marks; - bars 30-31. Diminuendos in pairs with crescendos;
- bars 45-46. Accents related to the articulation of the chords.
category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources
issues: Long accents
notation: Articulation, Accents, Hairpins
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