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Issues : Enharmonic corrections
b. 27
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composition: Op. 10 No 2, Etude in A minor
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The sources prove Chopin's hesitation concerning the notation of the 3rd semiquaver on the 2nd and 3rd beats of the bar. It is best seen in Ap, in which the clear traces of corrections are visible in the 2nd group of the notes, and possible ones – in the 3rd one. In the case of the first of the corrections, a category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Errors in FE , Enharmonic corrections , Authentic corrections of FE |
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b. 27
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composition: Op. 10 No 9, Etude in F minor
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The notation with E, present in both autographs, was changed – most probably by Chopin – in a proofreading of FE (→GE,EE). According to us, it is however possible that the proofreading concerned an erroneous version – e.g., a sole note head without the ledger line and natural, due to which it looked like an F. It undermines the expression of this change as proving Chopin's preference of the notation with F category imprint: Differences between sources issues: Enharmonic corrections , Authentic corrections of FE |
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b. 27
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composition: Op. 10 No 4, Etude in C♯ minor
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In AI Chopin initially wrote the 6th semiquaver as c category imprint: Corrections & alterations issues: Enharmonic corrections |
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b. 27
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A one can see a crossed-out category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Enharmonic corrections |
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b. 28-30
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composition: Op. 29, Impromptu in A♭ major
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On the 4th and 10th quavers in A there are visible deletions and corrections of notation from e category imprint: Corrections & alterations issues: Deletions in A , Enharmonic corrections |