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b. 494-507
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composition: Op. 31, Scherzo in B♭ minor
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The analysis of the slurs of A used in the ostinato figures of the R.H. bottom/middle voice leads to the conclusion that slurs other than 5-note long – the shorter slur in b. 498 and the one in b. 502 suggesting continuation at the end of the line – are most probably a result of inaccurate notation. Therefore, it is the 5-note slurs that we give in the main text as the only version. In FE (→EE) the slur in b. 502 was led to b. 503, while in EE it was also the slur in b. 504-505 that was extended in a similar manner. Taking into account a broader context – longer slurs in b. 508-515 as well as in similar b. 310-333 and 412-435 – we suggest six-note slurs as an alternative solution in all discussed bars. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Inaccurate slurs in A , EE inaccuracies , Uncertain slur continuation |
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b. 494
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composition: Op. 31, Scherzo in B♭ minor
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In A (→FE,FC→GE1) there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 494-496
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composition: Op. 31, Scherzo in B♭ minor
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In b. 494 and 496 Chopin crossed out the sharps before c category imprint: Differences between sources; Editorial revisions; Source & stylistic information issues: GE revisions , Deletions in A |
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b. 495-515
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composition: Op. 31, Scherzo in B♭ minor
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In the entire fragment (until b. 515) the accents under the R.H. bottom voice minims are of different length; they are also ambiguous in terms of their shape. As a result, determining whether Chopin meant a long or a short accent in a given bar is very problematic. We assume that they are long accents, since:
Similarly to b. 311-333, the remaining sources do not contain traces of Chopinesque intervention in this regard. The differences in the size of the marks in FC are minimal, so we assume – in accordance with GE – that they are short accents. Fontana overlooked the marks in b. 505 and 507, which was corrected in GE2 (→GE3). In FE we determine the length of the accents by comparing them with the undoubtedly short accents in the L.H. It results in short accents only in b. 501, 503 and 505. It is uncertain whether those differences were intended by the engraver, since the use of longer or shorter marks is neither musically consistent nor corresponding to the differences in A. In EE all accents are short except for b. 515, where the mark is clearly bigger. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , GE revisions , Errors of FC , Inaccuracies in FC |
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b. 495-503
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composition: Op. 31, Scherzo in B♭ minor
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Wherever the bass features the seventh of a dominant chord, Chopin provides it in A with a long accent (b. 495 and 503). The marks were overlooked by Fontana in FC (→GE1), whereas in FE (→EE) they were reproduced as short accents. Short accents were added in GE2 (→GE3), suspecting, correctly, inaccuracy of the notation of FC and GE1. A particular role of those notes is also emphasised by a slur combining each of them with the bass note in the next bar. category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , GE revisions , Errors of FC |
lowering g
2 to g2 and no 
lowering e2 to e
2. A flat was added already in 
