Issues : Abbreviated octaves' notation
|
b. 29-32
|
composition: Op. 10 No 1, Etude in C major
..
In CLI all bass octaves in these bars are written in an abbreviated form using the digit 8. In FE (→GE1→GE2→GE3) such notation was used only in bars 30-31. category imprint: Source & stylistic information issues: Abbreviated octaves' notation |
|||||
|
b. 33-34
|
composition: Op. 2, Variations, complete
..
The bottom notes of the L.H. octaves were not written out in the sources; they were marked with the use of the con 8va indication. In AsI the octave doubling of the bass line is not indicated at all, which may be only a shorthand notation, because also in the solo part at the beginning of bar 35 there is only A category imprint: Source & stylistic information issues: Abbreviated octaves' notation |
|||||
|
b. 38-51
|
composition: Op. 10 No 1, Etude in C major
..
In CLI the octaves in bars 38, 40 and 51 are written in an abbreviated form (with the use of 8). In FE the notation was used only in bars 40 and 51, while in EE – only in bar 51. category imprint: Source & stylistic information issues: Abbreviated octaves' notation |
|||||
|
b. 42-44
|
composition: Op. 10 No 1, Etude in C major
..
In CLI the bass – except for the A1-A octave in bar 42 – is written with single notes. It may be the original version, yet an oversight of some or all 8 signs determining the octaves cannot be excluded. The shortened notation can be seen in FE in the first octaves in these bars, which only partially was adopted in the remaining editions: category imprint: Differences between sources issues: Accompaniment changes , Abbreviated octaves' notation |
|||||
|
b. 43-46
|
composition: Op. 10 No 3, Etude in E major
..
In AI the octave progression in the L.H. in bars 43-44 and 45-46 is briefly written – the top notes and 8_ _ _|. category imprint: Source & stylistic information issues: Abbreviated octaves' notation |
, and it seems unlikely that Chopin started the octave progression with a single note.
