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Op. 10 No 6, Etude in E♭ minor

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Articulation, Accents, Hairpins

b. 47-48

composition: Op. 10 No 6, Etude in E♭ minor

 in A

FE (→GE1→GE2→GE3)

EE

GE4 (→GE5)
..

In A the  hairpins clearly refer to short melodic connecting passages leading to the Neapolitan chord. In FE the marks were extended and their reference to the part of the R.H. is unsure. According to us, it is a result of the engraver's misunderstanding of the manuscript. In EE and subsequent GE,s, the mark in bar 48 was extended after bar 47.

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category imprint: Differences between sources

issues: Inaccuracies in FE , EE inaccuracies

b. 50

composition: Op. 10 No 6, Etude in E♭ minor

Long accent in A

Short accent in FE (→GE,EE)
..

The accent of A is, according to us, a long accent and it concerns the peak fragment of the semiquaver passage performed by the R.H. In the editions it took a form of a common short accent, concerning the crotchet in the L.H.

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category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE

b. 50

composition: Op. 10 No 6, Etude in E♭ minor

..

We interpret two accents visible in A as long ones, as they do not differ from the remaining ones on this page of the manuscript. In FE (→GE,EE) only the upper accent was reproduced (as a short one). Due to the fact that the completeness of Chopin's proofreading of FE is dubious, we base the main text entirely on A.

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category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents

b. 53

composition: Op. 10 No 6, Etude in E♭ minor

Long accent in A & EE3 (→EE4)

Short accent in FE (→GE)

No mark in EE2
..

The accent visible in A should be, according to us, interpreted as a long one. The mark of FE is ambiguous, which we interpret in favour of a common short accent. This is how it was interpreted in GE. In turn, EE gives a long accent (except for EE2 which is devoid of the mark).

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category imprint: Differences between sources

issues: Long accents