Issues : Abbreviated notation of A
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b. 4
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composition: Op. 28 No. 12, Prelude in G♯ minor
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In A (→FC) the L.H. part is designated by the •/• mark as a repetition of the previous bar. Similarly the R.H. part in bar 22. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 4-18
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composition: Op. 28 No. 17, Prelude in A♭ major
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The majority of the groups of repeated quavers were written in A (→FC→GE) as dotted crotchets provided with quaver tremolos. In A this is how the L.H. in the 2nd half of b. 4, 5, 7, 10-13 and 18 and the R.H. in the 2nd half of b. 10 were marked. A similar situation occurs in FC (→GE) – except b. 18. Such notation is not observed at all in FCI. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 5-6
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composition: Op. 10 No 9, Etude in F minor
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In bar 5 and in the 1st half of bar 6, in AI, instead of part of the L.H., there is come sopra, which, in this context, undoubtedly refers to bars 1-2 and means repetition of the notation of the first three groups of semiquavers. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 5-12
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composition: Op. 25 No 11, Etude in A minor
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In GC – undoubtedly in accordance with [A] – bars 5-14 are provided with numbers 1-10 as model for the briefly written bars 69-78. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 6-7
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composition: Op. 43, Tarantella
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In A and FC3 the second grouping of quavers in bars 6-7 is marked in short as repetition of the first group. Similarly in bars 14-15. category imprint: Differences between sources; Source & stylistic information issues: Abbreviated notation of A |