Issues : Abbreviated notation of A
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b. 1-10
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composition: Op. 28 No. 19, Prelude in E♭ major
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In A (→FC) these bars are numbered for an easier identification while implementing the abridged notation of b. 33-42 as a repetition of b. 1-10. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 1-8
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composition: Op. 28 No. 12, Prelude in G♯ minor
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In A (→FC) these bars are numbered from 1 to 8. Those digits were then used to mark b. 41-48 in an abridged manner. Fontana used the first two digits to mark in such a way b. 9-10 too, which resulted in GE omitting the accents and moving the cresc. from b. 10 to b. 11. category imprint: Differences between sources; Source & stylistic information issues: Abbreviated notation of A , Fontana's revisions |
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b. 1-2
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composition: Op. 28 No. 17, Prelude in A♭ major
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To write down these bars in A, Chopin used repeat marks – / to mark the L.H. part in the 2nd half of b. 1 and •/• in b. 2. In FC repeat marks were used only in b. 2. The highest number of repeat marks is to be found here in FCI – all those visible in A as well as / instead of the R.H. part in the 2nd half of b. 1. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 2-6
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composition: Op. 27 No 2, Nocturne in D♭ major
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In A, Chopin notated some of the repeating figures of the accompaniment in an abbreviated form using the signs '//'. Cf. bars 69-75. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 2-3
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC the part of the R.H. is written in these bars in an abbreviated manner – with the help of •/• signs – as repetition of bar 1. category imprint: Differences between sources issues: Abbreviated notation of A |