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Issues : Corrections of AI
b. 38
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composition: Op. 25 No 1, Etude in A♭ major
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In AI one can see that, initially, it was the one octave lower A category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes , Corrections of AI |
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b. 45-55
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In b. 45, 47, 48 and 53-55, there are visible traces of corrections of the chords on the 2nd or 3rd beat of the bar in AI. In each case Chopin removed one note from the originally written f category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes , Omitted correction of an analogous place , Corrections of AI |
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b. 45-57
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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On the basis of AI one can see that Chopin hesitated whether to write the B major section (from b. 45) using a 4- or a 5-sharp key signature. It is proven by the following actions: a new key signature was added in b. 45 and 57, then the sharps of A category imprint: Corrections & alterations; Source & stylistic information issues: Chopin's hesitations , Last key signature sign , Corrections of AI |
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b. 50
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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There is a visible crossing-out of the c category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes , Corrections of AI |
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b. 56
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composition: WN 37, Lento con gran espressione
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In #A one can see that Chopin initially provided the trilled note with the value of a double dotted minim, whereas the c category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Deletions in A , Corrections of AI |