Articulation, Accents, Hairpins
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b. 55-56
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composition: Op. 10 No 5, Etude in G♭ major
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It does not seem possible that the accents of A, clearly falling on the 3rd quaver in both bars, took the form they have in FE due to the engraver's inaccuracy. Therefore, we consider the version of FE as an expression of Chopin's latest intention (despite the difference in length we consider both signs as long accents, as it was interpreted in EE). In GE the signs were given the form of short category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , Authentic corrections of FE |
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b. 57-60
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composition: Op. 10 No 5, Etude in G♭ major
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In A Chopin provided with dots only the bass notes and only in bars 57-58, yet in a proofreading of FE (→GE1) he also added the dots under the chords (except for bar 58, which is certainly an oversight). In GE2 and subsequent and in EE the omitted signs were completed. Dots in the 2nd half of bar 59 are included in the variants of the last chord in this bar. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE |
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b. 61-62
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composition: Op. 10 No 5, Etude in G♭ major
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It is uncertain which type of accents Chopin had in mind. The signs in A, particularly the second, are clearly shorter than these in the R.H., yet in all analogous figures in bars 7, 15 and 27-28 A displays long accents. category imprint: Graphic ambiguousness issues: Long accents |
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b. 62
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composition: Op. 10 No 5, Etude in G♭ major
category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 69-70
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composition: Op. 10 No 5, Etude in G♭ major
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According to us, both the accents of A and the clearly longer category imprint: Graphic ambiguousness issues: Long accents |
& accent in 
