Rhythm
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b. 50
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composition: Op. 10 No 8, Etude in F major
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The engraver of FE probably assumed that lack of stem combining A and e is an example of inaccurate notation, quite often found in Chopin's autographs. In GE and EE the notation was simplified even more, omitting the point extending the bass note A. In the main text we give the precise notation of A. category imprint: Differences between sources issues: EE revisions , Different values of chord components , Inaccuracies in FE , GE revisions |
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b. 63
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composition: Op. 10 No 8, Etude in F major
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The version of FE (→EE3) is probably a result of misunderstanding of the notation of A. The later change of notation into two-part writing is an arbitrary invention of the reviser of EE4, which is of no significance in this context (cf. bar 31). category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |
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b. 73
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composition: Op. 10 No 8, Etude in F major
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The additional crotchet stem, written in A, was omitted in FE (→GE,EE). Most probably, it is a result of an inaccurate reading of the manuscript. category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 77
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composition: Op. 10 No 8, Etude in F major
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In the main text we preserve the precisely differentiated duration of particular elements of the chord written in A. In FE (→GE,EE) the B note was erroneously attributed the value of a semibreve. category imprint: Differences between sources |
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b. 77-78
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composition: Op. 10 No 8, Etude in F major
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In the main text we give the notation of A, in which the sustained c note does not raise any doubts. In spite of this, in FE the tie was inaccurately reproduced (only in bar 78 in the new line of the text) and with a mistake (it reaches F), so that in none of the remaining editions the correct text was guessed. We consider the version of GE and EE4 to be a natural interpretation of FE. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions |
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