Issues : Inaccurate slurs in A
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b. 5
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composition: Op. 29, Impromptu in A♭ major
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In A the end of tie reaches the next bar. We consider it to be an inaccuracy of notation due to the obvious phrase structure and consistent slurring in almost each out of 11 analogous bars. category imprint: Graphic ambiguousness issues: Dedications , Inaccurate slurs in A |
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b. 9
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composition: Op. 29, Impromptu in A♭ major
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According to us, the beginning of the slur, inaccurately placed in A, includes the 1st note of the motif. In the editions the slur begins a quaver earlier. In EE the slur runs until the end of bar 10 and in GE2 (→GE3→GE4) until the end of bar 12. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , Embracing slurs |
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b. 11
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composition: Op. 29, Impromptu in A♭ major
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According to us, the more probable is such an interpretation in which the beginning of the slur includes the 1st note of the marked motif. In GE1 the slur was interpreted in a different manner: it begins a quaver earlier. EE has a similar slur, which may also comply with A's notation. FE is lacking the slur, while in GE2 (→GE3→GE4) the slur which started in bar 9 runs until the end of bar 12. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 40
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composition: Op. 29, Impromptu in A♭ major
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In A one can see corrections of slurs, however, it is unclear whether Chopin wanted to combine or separate them. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Inaccurate slurs in A |
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b. 52-54
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composition: Op. 29, Impromptu in A♭ major
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In A the slurs in the L.H. seem to overlap. However, the analysis of the way of writing slurs in the entire middle part leads to a conclusion that it is only a manner without substantial meaning. Cf. the endings of the slurs in A in bar 38, 44, as well as in bar 72. category imprint: Graphic ambiguousness issues: Inaccurate slurs in A |
