Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 11, Concerto in E minor, Mvt II
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The autographs of the Etudes, op. 10, published through the same procedure as the Concerto, provide invaluable data both on the way Chopin noted his works in that period and on the way Chopin's notation was understood by the engravers. We base our suggestions concerning the use of long accents on, e.g. the analysis of that material. An example of reproducing long accents as shorts: the Etude in E
minor, op. 10, no. 6, bars 6-7, the Etude in C minor, op. 10, no. 12, bar 69. A long, locally topmost note is a typical place for a long accent, hence – taking into account a possibility of an inaccurate reproduction of the mark by the engraver of FE – in the main text we suggest a long accent.
category imprint: Editorial revisions
issues: Long accents
notation: Articulation, Accents, Hairpins
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