Issues : Inaccurate slurs in A
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b. 8
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composition: Op. 24 No. 2, Mazurka in C major
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In A, the extent of the slur is not quite clear. The interpretation adopted in GE (→FE→EE) is possible, yet in our opinion a longer slur, reaching the crotchet on the 2nd beat of the bar, is much more likely. category imprint: Graphic ambiguousness issues: Inaccurate slurs in A |
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b. 8-9
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In A it is not quite clear where this slur ends, but in AI it definitely reaches f1 in bar 9, just like in A in analogous bars 28-29. Therefore in our main text we extend the slur to f1. category imprint: Differences between sources issues: Inaccurate slurs in A |
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b. 8-9
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composition: Op. 10 No 7, Etude in C major
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The slur of A in the 2nd half of bar 8 may suggest a continuation in the next bar, in which there is no possible ending of the mark. category imprint: Differences between sources issues: Inaccurate slurs in A |
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b. 8
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composition: Op. 21, Concerto in F minor, Mvt II
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Numerous corrections on the 3rd beat of the bar (erasures and deletions) forced Chopin to write a group of three semiquavers on an adjacent stave. The group is embraced with a slur, which almost certainly means that it is a triplet. On the main stave, however, there is another slur in this place, starting from the previous semiquaver. The slur was most probably written earlier and concerned one of the deleted versions of this place. In this situation it is uncertain whether the new slur (over the triplet) was, according to Chopin, supposed to complement the previous (as a slur separating an irregular group) or whether Chopin inadvertently left a longer slur and the slur over the triplet was supposed to replace it. According to us, the latter is the most likely (cf. bar 13), hence we give this version in the main text. An alternative interpretation assumes a later addition of the longer slur as the final one. This is generally the way it was understood in GE (→FE→EE1→EE2), although due to a different interpretation of the rhythm, the slur embraces there the entire 3rd beat of the bar. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccurate slurs in A |
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b. 8
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composition: Op. 21, Concerto in F minor, Mvt I
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Admittedly, the slur of A does not reach the very end of the motif, yet it was extended, which proves that Chopin meant a sign embracing all notes in the R.H. in this bar. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
