Articulation, Accents, Hairpins
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b. 7-13
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composition: Op. 12, Variations in B♭ major
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Two types of staccato markings, wedges and dots, present in FE (→EE), very typical of Chopin in that period, were reduced to dots in GE (in the entire Variations). According to us, it is unlikely that this change could have been encouraged by Chopin – it was rather the engraver: he made his task easier by using only one type of markings. Therefore, in the main text we keep the wedges present in FE; as the change concerns all wedges, we consider the GE dots together as one variant, on this page encompassing 7 marks in bars 7-8 and 11-13. The absence of the mark in bar 13 is most probably an oversight by the EE engraver. category imprint: Differences between sources issues: GE revisions , EE inaccuracies |
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b. 7-8
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composition: Op. 12, Variations in B♭ major
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Despite the difference in size and positioning of the signs – accent and category imprint: Graphic ambiguousness; Editorial revisions issues: Long accents |
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b. 10
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composition: Op. 12, Variations in B♭ major
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Taking into account the e category imprint: Differences between sources; Editorial revisions issues: Errors in FE , Errors in EE , GE revisions |
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b. 13
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composition: Op. 12, Variations in B♭ major
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Slurs encompassing a group of notes, the first of which is provided with a staccato sign, are not uncommon in Chopin's works. However, such situations appear most often in accompaniments performed by the LH – see e.g. bars 157-162 – in which the staccato signs emphasize the bass line*. In the discussed place, there is no reason for using such an unobvious combination of markings, so we consider the dot under the a1 quaver to be an error. See also b. 123. * In the Ballade in F minor, op. 52, this type of combination of staccato and slur in the melodic voice appears in the autograph in bars 11, 15 and analog. However, sources based on other, lost autographs have different markings. category imprint: Differences between sources issues: Inaccuracies in FE , GE revisions |
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b. 20-28
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composition: Op. 12, Variations in B♭ major
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Most of the wedges present in FE (→EE) were changed to staccato dots in GE – see the note in bar 7. As the change concerns all wedges included in GE, we consider the version of this edition as one variant, on this page encompassing 14 marks in bars 20-21, 23 (f2) and 26-28. Omitted marks in all or some editions are discussed separately – see bar 23, 25 and 26. category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in EE , Errors in GE , GE revisions |
in 
and f minims in the preceding bar and the absence of pedal markings, we assume that the most likely scenario is that the 
