Issues : Cautionary accidentals
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b. 1
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composition: Op. 24 No. 2, Mazurka in C major
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At the beginning of the bar in A one can see a deleted category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Cautionary accidentals |
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b. 1-5
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composition: Op. 10 No 2, Etude in A minor
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Before the last semiquaver in bar 1 FE (→EE2) has an undoubtedly authentic cautionary category imprint: Differences between sources; Editorial revisions issues: GE revisions , Cautionary accidentals |
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b. 1-5
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composition: Op. 10 No 2, Etude in A minor
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The cautionary accidentals before c1 in the L.H. were added in the L.H. in one of the last proofreadings of FE (→GE). They are also included in EE, apart from the category imprint: Differences between sources issues: Cautionary accidentals , EE inaccuracies , Authentic corrections of FE |
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b. 1-2
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composition: Op. 10 No 7, Etude in C major
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In A (→FE→EE,GE1→GE2) there are naturals before the upper notes on the last semiquaver of each group (b1). The unjustified accidentals were removed in GE3 (→GE4). Cf. bars 4 and 12, as well as 37-39. category imprint: Differences between sources issues: GE revisions , Cautionary accidentals , Last key signature sign |
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b. 1
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composition: Op. 25 No 2, Etude in F minor
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In AT, AW and CDP, there is no cautionary flat before the 4th crotchet (b category imprint: Differences between sources issues: Cautionary accidentals |
before e1. The need to put that sign could, in our opinion, result from the uninterrupted transition in writing - perhaps also performing - from the Mazurka in G minor to the Mazurka in C major.
). It may mean that Chopin added the sign in [A], at the time of preparing the Etude for print, shortly before giving [A] for copying.