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Op. 10 No 7, Etude in C major

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 42

composition: Op. 10 No 7, Etude in C major

Accent &  in A

No signs in FE (→GE,EE)
..

According to us, omission of the long accent at the beginning of the bar and the  hairpins at the end in FE (→GE,EE) is a result of distraction (haste) of the engraver of FE.

category imprint: Differences between sources

issues: Errors in FE

b. 45-47

composition: Op. 10 No 7, Etude in C major

Two long accents in A

 in FE (→GE,EE)
..

According to us, the marks, written in A at the end of bars 45 and 47, should be interpreted as long accents. In FE (→GE,EE) the mark in bar 45 was given a form of  hairpins, while the mark in bar 47 was omitted.

category imprint: Differences between sources

issues: Long accents

b. 45

composition: Op. 10 No 7, Etude in C major

No sign in A

 in FE (→GE,EE)
..

The  hairpins added in a proofreading of FE (→GE,EE) should be considered to be authentic.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 45

composition: Op. 10 No 7, Etude in C major

Long accent in A

Short accent in FE (→GE,EE)
..

In A the characteristic placement of the sign slightly after the note indicates a long accent. In the editions it was reproduced as a common short accent.

category imprint: Differences between sources

issues: Long accents

b. 47

composition: Op. 10 No 7, Etude in C major

No accent in A (→FE→GE1)

Accent in EE & GE2 (→GE3→GE4)
..

In the main text we do not include the accent, added in EE and GE2 (→GE3→GE4) by analogy to bar 45 (together with the slurs). The accentuation of these bars can be different, as they also differ in dynamic indications – in bar 47 there is no  mark, added during a proofreading of FE in bar 45.

category imprint: Differences between sources

issues: EE revisions , GE revisions