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Issues : Long accents
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b. 292-294
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composition: Op. 11, Concerto in E minor, Mvt III
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Both the length of the majority of the accents and their placement, not over the note, but slightly after it (cf. a typical short accent, e.g. in bar 284), indicate the use of long accents by Chopin. However, in EE and GE3, it is difficult to consider the marks to be long in spite of the fact that their asymmetrical placement was preserved. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 328-331
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we interpret four category imprint: Interpretations within context; Editorial revisions issues: Long accents |
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b. 347
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composition: Op. 11, Concerto in E minor, Mvt III
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It is unclear which mark Chopin meant at the beginning of the 2nd half of the bar. In FE, the mark resembles an accent (short or long), yet it cannot be ruled out that it was supposed to be a category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , GE revisions |
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b. 369
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composition: Op. 11, Concerto in E minor, Mvt III
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The accents present in three similar bars – bars 361, 363 and 371 – make us consider the absence of respective marks in the discussed bar to be Chopin's oversight. At the same time, the presence of long accents in bars 368 and 371 suggests that Chopin could have envisioned long accents for the R.H. in the entire four-bar section (differently than in bars 360-363). category imprint: Editorial revisions issues: Long accents |
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b. 390-391
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composition: Op. 11, Concerto in E minor, Mvt III
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In FE, the meaning of the short diminuendo hairpin at the beginning of the 2nd half of the bar is unclear. The marks' size resembles long accents, yet they are placed directly under the 3rd semiquaver triplet. Therefore, we consider long accents or category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Scope of dynamic hairpins , GE revisions |
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