Issues : Synchronization markings
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b. 38-40
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composition: Op. 27 No 2, Nocturne in D♭ major
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Although the notation of the source is clear, there are as many as five signs in FES that show in a detailed manner the rhythmic relations of both hands. Those signs are probably meant to facilitate the a vista playing through showing the synchronization of the L.H. and the R.H. part. Cf. bar 35-36. category imprint: Differences between sources issues: Synchronization markings , Annotations in FES |
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b. 51
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composition: Op. 27 No 2, Nocturne in D♭ major
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The marks entered in FES (a line and a cross) point to the moment of beginning of the run that ends the trill. category imprint: Differences between sources issues: Annotations in teaching copies , Synchronization markings , Annotations in FES |
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b. 55
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composition: Op. 22, Polonaise
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In the main text we give the synchronisation mark that comes from Chopin; it requires the first grace note, e category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Synchronization markings |
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b. 58
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composition: Op. 29, Impromptu in A♭ major
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In FED Chopin added the sign of synchronisation of the R.H. and the L.H. category imprint: Differences between sources issues: Annotations in teaching copies , Synchronization markings |
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b. 74
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composition: Op. 29, Impromptu in A♭ major
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In FED Chopin added a sign specifying the manner of performing the trill – synchronisation with the L.H. category imprint: Differences between sources issues: Annotations in teaching copies , Synchronization markings |
1, to be performed simultaneously with bass E
