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Issues : Accompaniment changes
b. 1
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composition: Op. 24 No. 3, Mazurka in A♭ major
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category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 1-8
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composition: Op. 10 No 2, Etude in A minor
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The crotchets in bars 1-2 and 5-8 constitute a significant change of the concept in Ap in the scope of the Etude's technical problems and its sound image (cf. the characteristic of Ap). As the version does not appear in any of the sources related to the publication of the piece – neither in CLI nor in FE (→GE,EE) – it seems that the prolonged articulation of the accompanying two-note chords appeared only as a transitional phase in the shaping process of the Etude's text or – which, according to us, is more plausible – as a one-time exclusive idea. See also the remark concerning bars 3-4. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
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b. 1
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composition: Op. 25 No 1, Etude in A♭ major
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A greater schematic approach is generally characteristic for original versions, in this case AI. Lowering some bass notes or doubling them during the works on a piece is characteristic for Chopin – cf., e.g., the Etude in D See also the note to bar 36. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 1
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composition: Op. 25 No 8, Etude in D♭ major
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In A the bottom note of the 4th quaver was corrected by Chopin from g category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Errors resulting from corrections , Accompaniment changes |
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b. 1-2
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composition: Op. 64 No 2, Waltz in C♯ minor
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In As and AI the bass notes in bars 1-2 are written an octave higher than in the version prepared for print (in A one can see traces of corrections from c category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Accompaniment changes , Bass register changes |