![](/build/images/logo_left-en.png)
![](/build/images/pl-button.5cab5de0.png)
![](/build/images/pomoc-button.d3d09842.png)
![](/build/images/pomoc-button-en.5098433b.png)
Issues : Constraint from piano range
b. 9
|
composition: Op. 28 No. 9, Prelude in E major
..
Complementing the bass line with octaves seems to be advisable due to the shape of the motif (cf. b. 1), repeated in octaves in the next two bars (b. 10-11). The absence of those notes in the sources could have resulted from the limitations of the pianos at Chopin's disposal – their range did not go beyond C1 in the bass register. On the other hand, the absence of octaves can be linked to the category imprint: Editorial revisions issues: Constraint from piano range |
||||
b. 239
|
composition: Op. 35, Sonata in B♭ minor, Mvt I
..
The descending bass line in two previous bars suggests the use of a B category imprint: Editorial revisions issues: Constraint from piano range |
||||
b. 241
|
composition: Op. 39, Scherzo in C♯ minor
..
Lacking in the sources is the bottom note of the L.H. octave, B category imprint: Editorial revisions; Source & stylistic information issues: Constraint from piano range |
||||
b. 315
|
composition: Op. 39, Scherzo in C♯ minor
..
Shortening of passages compared with the 19 corresponding places was caused most probably by a limited scale of the grand piano, as when Scherzo was composed most models had a scale range up to f4. Therefore, in the main text we suggest completing the figuration in compliance with the corresponding places, thus the slur needs to be appropriately modified in RH. In EE the treble clef was omitted after the last rest. category imprint: Editorial revisions; Source & stylistic information issues: Constraint from piano range |