Articulation, Accents, Hairpins
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b. 13-14
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composition: Op. 28 No. 6, Prelude in B minor
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Two marks in this bar are the only dynamic hairpins included in CGS. They were entered – just like the pedalling markings – without trying to reproduce their placement correctly. The minor differences in the remaining sources are of accidental nature, and we do not consider them to be equal. category imprint: Differences between sources |
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b. 17
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composition: Op. 28 No. 6, Prelude in B minor
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FES contains vague signs in this bar, out of which two seem to have musical sense – a slur starting under the F minim and a hairpin of a similar range. In the main text we do not include any of them:
As the reasonably complements the indication from the previous bar, we suggest the version including this sign as an alternative solution. category imprint: Graphic ambiguousness; Differences between sources |
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b. 23-24
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composition: Op. 28 No. 6, Prelude in B minor
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Just like in the similar situations in b. 1, 3 and 9, we consider the top arm of the mark in A to be more reliable, although in this case the difference in length is insignificant. We regard the minor inaccuracies in the reproduction of the hairpins in FC and GE as similarly insignificant. The marks in FE (→EE) were arbitrarily adjusted to the main beats of the bars. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , FE revisions |
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