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b. 1-2
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composition: Op. 29, Impromptu in A♭ major
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In GE a change in the tie layout in all analogous places was performed (bars 4-5, 19-21, 83-84, 87-88 and 101-103). A's notation in bars 2, 16, 84, 88 and 101-103 proves that the graphic layout with one quaver tie was developed by Chopin. category imprint: Differences between sources issues: GE revisions |
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b. 1-2
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composition: Op. 29, Impromptu in A♭ major
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The moment of pedal release is indicated heterogeneously in the sources. In A and FE the asterisk is placed slightly further than in the analogous place in bar 2, a situation which we have harmonised. However, we preserve the minor difference between placement of that sign in the first (under the 4th quaver) and second half of bars 1-2 (before the 4th quaver). It can suggest a slightly longer pedal in the 1st halves of those bars. In GE and EE all 4 signs are put in analogous places. category imprint: Graphic ambiguousness; Differences between sources |
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b. 1
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composition: Op. 29, Impromptu in A♭ major
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The range of crescendo is marked in the sources heterogeneously. The shortest hairpins are in A, whereas the longest - in FE. We give the version which complies with the majority of analogous bars. category imprint: Differences between sources issues: Scope of dynamic hairpins |
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b. 1
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composition: Op. 29, Impromptu in A♭ major
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In A Chopin deleted the abbreviated performance indication m.v. (= mezza voce) category imprint: Corrections & alterations issues: No initial dynamic marking , Deletions in A |
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b. 1
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composition: Op. 29, Impromptu in A♭ major
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In A the sign above the 4th quaver in the L.H. is deleted - it is probably an accent, although it could also have been the head of c1. category imprint: Corrections & alterations issues: Deletions in A |
