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Issues : Chopin's hesitations
b. 11-12
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composition: Op. 10 No 2, Etude in A minor
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In Ap the rhythmic values of the subsequent two-note chords in the lower voice of the R.H. constitute an alternating short-long (semiquaver-crotchet) scheme in these bars. Moreover, the contrast of the resounding's length is underlined with accents here and there. In the main text we give the homogeneous version of FE (→GE,EE), as far as the sound is concerned. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
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b. 11-13
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composition: Op. 28 No. 2, Prelude in A minor
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In As one can see traces of corrections of the bottom note of the 2nd quaver in the 1st L.H. group in b. 11 and 13 and in the 2nd group in b. 12 (the remaining three groups of quavers are not written out in those bars). Chopin hesitated whether to write it as c category imprint: Corrections & alterations; Source & stylistic information issues: Chopin's hesitations |
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b. 11
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composition: Op. 2, Variation IV, primitive version
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In AsI the 3rd hemidemisemiquaver in each group is b category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Chopin's hesitations , Accompaniment changes , Corrections of AI |
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b. 12
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In AI, there is a double bar line before the 3rd beat of the bar. No such line, separating a new section of the Mazurka beginning here, is to be found in A (→GE→FE→EE). category imprint: Differences between sources issues: Chopin's hesitations |
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b. 12
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composition: Op. 10 No 2, Etude in A minor category imprint: Corrections & alterations; Source & stylistic information issues: Chopin's hesitations |