



It is not entirely certain what kind of accents Chopin had in mind after marks. The accents are longer than those in bars 57-58, yet it does not seem that it would be a significant difference. In turn, they are clearly different than the typical long accent in bar 55. Since the accents in analogous bars 57-58, 397-398 and 401-402 are clearly short, in the main text we adopt short accents. Subsequent omissions of accents in GE1 and FE (→EE) are most probably mistakes.
Compare the passage in the sources »
category imprint: Graphic ambiguousness; Differences between sources
issues: Long accents, Errors in GE
notation: Pitch