In bars 429 and 431 the part of the R.H. is almost identical, while the beginning of the descending passage was provided with a similar mark in both bars; it could be interpreted as a long accent or a 
hairpin. If we were to take into account the identical structure, using the same mark in both bars seems to be justified, since the difference in the length may be considered an inaccuracy of the notation. However, a more profound analysis of the course of music reveals a different function of these bars:
- in bar 429 the part of the R.H. opens a four-bar sequence of passages, yet the part of the L.H. is still an element closing the two-bar cadence;
- bar 431 only reaffirms the already shaped model of figuration from the previous two bars, both in the R.H. and in the L.H.
Therefore, the use of different marks – an accent in bar 429 and a in bar 431 – could have also been compliant with the Chopinesque vision of performing these bars.
Compare the passage in the sources »
category imprint: Graphic ambiguousness
issues: Long accents
notation: Articulation, Accents, Hairpins