Issues : Inaccuracies in A
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b. 6-7
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composition: Op. 23, Ballade in G minor
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In A, the category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in A |
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b. 8-16
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composition: Op. 23, Ballade in G minor
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In A, the 5 accents at the beginning of the R.H. quaver figures are of different length – the shortest are in b. 10 and 12, while the longest – in b. 14 and 16. However, all of them are provided with a slender shape, typical of long accents. As there is no reason to differentiate between the accents (and the last two are undoubtedly long), we interpret all of them as long; this is also the shape in which we give them in the main text. In FE, it is only the last accent that is clearly longer (in b. 16); in the remaining editions the marks were standardised as common short accents. The issue of distinguishing between those two types of accents, not always possible to unequivocally decide, is present throughout the entire Ballade and is also to be found in many other works by Chopin. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in A |
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b. 24-25
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composition: Op. 23, Ballade in G minor
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In these bars, it is difficult to determine which accents Chopin had in mind. The length of the marks differs – the second is a typical long accent, the third – short, while the first can be interpreted twofold: it is true that it is quite short; however, it is slender like a long accent. Nevertheless, it is unlikely that Chopin would have wanted to differentiate between the marks: like entire A, they were written in haste, which excludes the application of hardly noticeable graphical details. In the main text, we are leaning towards long accents due to the layout – bar 25 opens a new line; therefore, it is likely that the accent was added later, with less commitment, and it is the marks in b. 24 that represent the correct reflex. According to us, the short accents in the editions may be regarded as a less likely interpretation of the notation of A. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Long accents , Inaccuracies in FE , Inaccuracies in A |
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b. 32
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composition: Op. 23, Ballade in G minor
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There are no naturals before the outer notes of the 2nd L.H. crotchet (e-e1) in A. The inaccuracy was corrected already in FE (→GE,EE). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , Authentic corrections of FE , FE revisions , Inaccuracies in A |
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b. 33
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composition: Op. 23, Ballade in G minor
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In A (→FE), there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Omissions to cancel alteration , GE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
in 
1 step, indicates that the mark applies to the R.H. part. Such ascending motifs, usually within the interval of a second, are often to be found in Chopin's works, while the accompanying 
Different accents in 
before the last semiquaver (e3) in the 1st half of the bar; the 
restoring e