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Issues : Different values of chord components
b. 7
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composition: WN 17, Polonaise in B♭ major
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The sources differ in the notation of the first chord in the R.H.:
category imprint: Differences between sources; Source & stylistic information |
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b. 8
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composition: Op. 50 No. 2, Mazurka in A♭ major
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The missing tie of g1 in FE (→EE) is most probably an oversight, perhaps provoked by the notation of A1, in which the g1-b category imprint: Differences between sources |
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b. 11
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composition: Op. 10 No 8, Etude in F major
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According to us, the authentic, simplified rhythmic notation of the 1st chord may be perceived as unclear in this case. Therefore, we introduce a more exact notation with division into voices. category imprint: Editorial revisions |
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b. 16
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composition: Op. 28 No. 23, Prelude in F major
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The missing f2 crotchet in FC (→GE1) may be a result of an unfinished or failed correction of the pitch of that note – in the place where the stem of the chord ends, e2 was probably removed. Another possibility is a misrepresenting its notehead in A for a mere thickening at the end of stem. The copyist also omitted the arpeggio sign before that chord and the slur. The revision restoring a tolerably correct text in GE2 (→GE3) was most probably based on FE, which is indicated by an identical unification of the rhythmic values of the g1-b category imprint: Differences between sources issues: Different values of chord components , Inaccuracies in FE , GE revisions , Errors of FC |
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b. 20
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composition: Op. 10 No 6, Etude in E♭ minor
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The change of the notation introduced by Chopin in a proofreading of FE (→GE,EE) manifests both the harmonic progression and rhythmic values (shorter sound of g1). In EE2 (→EE3) the quaver flag is missing. category imprint: Differences between sources issues: Different values of chord components , Enharmonic corrections |