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Issues : Accompaniment changes
b. 7
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composition: Op. 25 No 1, Etude in A♭ major
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In the first three figures the L.H. in AI has a b category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 7-8
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composition: Op. 25 No 1, Etude in A♭ major
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In AI in both bars the 3rd figure in the R.H. preserves the regular melodic shape, i.e. the last two notes of the sextuplet are the same as the second and third note. Chopin changed it in A (→GE), correcting the already written original version. The remaining sources also include the final version. category imprint: Differences between sources; Corrections & alterations issues: Deletions in A , Accompaniment changes |
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b. 7
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composition: Op. 26 No 1, Polonaise in C♯ minor
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Chopin added a crotchet stem in the L.H. to the g category imprint: Differences between sources; Corrections & alterations issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , Accompaniment changes , Authentic corrections of FE , Omitted correction of an analogous place |
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b. 7
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composition: Op. 2, Variation IV, primitive version
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In the 1st half of the bar, the L.H. part bears traces of corrections in AsI. While working on this manuscript, the initial version: category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes , Corrections of AI |
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b. 7
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composition: Op. 2, Variation IV, primitive version
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As in bars 1-2 and 5-6, in AsI Chopin kept the position of the hemidemisemiquaver figures, in spite of the melody semiquavers, which are each time farther away. In the final version, he reduced the distance between the melody semiquavers and the preceding arpeggio-like figures. The same in bar 23. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |