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b. 1-2

composition: Op. 29, Impromptu in A♭ major

A, FE, EE

..

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

b. 1-2

composition: Op. 29, Impromptu in A♭ major

 
 
 
..

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

b. 1

composition: Op. 29, Impromptu in A♭ major

 
 
 
..

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

b. 1

composition: Op. 29, Impromptu in A♭ major

..

In A Chopin deleted the abbreviated performance indication m.v. (= mezza voce)

category imprint: Corrections & alterations

issues: No initial dynamic marking , Deletions in A

b. 1

composition: Op. 29, Impromptu in A♭ major

..

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