Issues : Synchronization markings
b. 7-9
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composition: Op. 21, Concerto in F minor, Mvt II
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Characteristic synchronisation signs of the parts of both hands, in the form of lines combining the notes that are supposed to be played simultaneously, were added next to the groups of small notes in bars 7 and 9 in FED. Similarly in bars 26 and 75. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Synchronization markings |
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b. 8
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composition: Op. 27 No 2, Nocturne in D♭ major
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In A Chopin placed the small quavers more or less in the middle between the g flat3 crotchet and the c2 semiquaver, not taking particular care to position that group in any relation to the semiquavers in the left hand. That notation was basically copied in the editions, yet in GE, and especially in FE the group was clearly moved towards the beginning of the bar, which could in itself suggest a faulty interpretation. category imprint: Differences between sources issues: Annotations in teaching copies , Synchronization markings , Annotations in FES |
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b. 9
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composition: Op. 28 No. 13, Prelude in F♯ major
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The line indicating that the a grace note should be performed together with the 1st L.H. quaver, F, was added – probably by Chopin – in FED. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Synchronization markings |
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b. 12
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composition: Op. 27 No 2, Nocturne in D♭ major
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category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Synchronization markings |
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b. 13
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composition: Op. 27 No 2, Nocturne in D♭ major
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W FE, the last semiquaver of the left hand is erroneously written under the last demisemiquaver of the right hand. The line added in FEJ indicates the correct synchronisation of both hands. category imprint: Source & stylistic information issues: Annotations in teaching copies , Synchronization markings , Annotations in FEJ |