Issues : Long accents
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b. 21-22
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composition: Op. 10 No 6, Etude in E♭ minor
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The signs visible in A at the beginning of these bars have an almost identical shape, however, the one in bar 21 is almost three times bigger. The second sign seems to be a quite typical long accent, yet it is unclear whether the same can be said of the first one. This is even more complicated by the fact that none of them is included in FE (→GE,EE). In the main text we propose a long accent in bar 22, which does not raise any graphical nor musical doubts. category imprint: Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 23
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composition: Op. 10 No 6, Etude in E♭ minor
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The accent of A, perhaps accidentally omitted in the editions, may either be assigned to the R.H. (our main text) or to the left one. category imprint: Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 29
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composition: Op. 10 No 6, Etude in E♭ minor
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We interpret the mark as a long accent due to its position over the note and lack of the preceding it mark. In the editions it was moved between the thirds of the upper voice, which was certainly performed by the engraver of FE. category imprint: Graphic ambiguousness issues: Long accents |
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b. 35
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composition: Op. 10 No 6, Etude in E♭ minor
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The accent in A resembles a short one with its shape, yet its size indicates rather a long one. FE (→GE) include a short accent, while in EE the mark took the form of diminuendo hairpins. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE inaccuracies |
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b. 36
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composition: Op. 10 No 6, Etude in E♭ minor
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We consider the mark added in a proofreading of FE (→GE1,EE) to be a long accent. Lack of the mark in GE2 (→GE3→GE4→GE5) is certainly a result of an oversight. category imprint: Differences between sources issues: Long accents , Authentic corrections of FE |
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