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Issues : Corrections in A
b. 5
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composition: WN 37, Lento con gran espressione
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In A1 one can see that the 6th quaver was initially an f category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Accompaniment changes |
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b. 5-6
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composition: Op. 28 No. 24, Prelude in D minor
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The crossings-out visible in A allowed us to decipher the initial rhythm of b. 5: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 5
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composition: Op. 28 No. 15, Prelude in D♭ major
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In A the penultimate quaver in the bar was initially a d category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 5-7
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composition: Op. 28 No. 18, Prelude in F minor
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In A one can see that in b. 5 Chopin initially wanted to lead the L.H. semiquaver sequence to the middle of the bar. He also introduced a similar change into b. 7, in which he started writing L.H. semiquavers from the beginning of the bar. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 6
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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Visible in A is an erased repeat sign marking bar 6 as opening a section to be repeated. category imprint: Source & stylistic information issues: Corrections in A |