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Issues : Long accents
b. 6-7
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composition: Op. 31, Scherzo in B♭ minor
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The analysis of the category imprint: Differences between sources; Editorial revisions issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , GE revisions |
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b. 18-20
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composition: Op. 31, Scherzo in B♭ minor
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It was only the first of the three undoubtedly long accents of A that was reproduced as long in FC. In GE the marks were unified as short accents. Short accents, contrary to FE, are also given in EE. category imprint: Differences between sources issues: Long accents , EE inaccuracies , Inaccuracies in FC |
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b. 30-31
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composition: Op. 31, Scherzo in B♭ minor
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The interpretation of the notation of A is problematic here: b. 30 ends the line, and the category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Long accents , EE revisions , Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Inaccuracies in FC |
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b. 42-43
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composition: Op. 31, Scherzo in B♭ minor
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Both Fontana and the engraver of EE considered the longer marks of A (→FE) to be an inaccuracy and replaced them with common, short accents. category imprint: Differences between sources issues: Long accents , EE inaccuracies , Inaccuracies in FC |
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b. 62-64
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composition: Op. 31, Scherzo in B♭ minor
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Out of the three accents visible in A at the beginning of subsequent quaver motifs, it is only the third one that was repeated in FC. It can be explained by them having been added in A later or, which seems more likely, by the copyist's distraction. It is also unclear which accents Chopin meant: taking into account the whole-bar category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors of FC |