Rhythm
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b. 1
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composition: Op. 10 No 8, Etude in F major
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We give the time signature's indication after A. Although FE (→GE,EE) has a category imprint: Differences between sources issues: Inaccuracies in FE , 4/4 or 2/2 |
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b. 4-8
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composition: Op. 10 No 8, Etude in F major
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In A it can be seen that the crotchets in the middle of bars 4 (g) and 8 (f) were originally written as quavers after which relevant rests would follow. category imprint: Corrections & alterations issues: Corrections in A |
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b. 4-7
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composition: Op. 10 No 8, Etude in F major
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These bars, making up the second line of A, contain a few distinct examples of Chopin's manner of writing notes on ledger lines. With the visibility of such a note probably in mind the composer shaped the note-head as a short vertical stroke which sometimes was extended enough to look like an additional downward crotchet stem. In the discussed bars it pertains to R.H. c1 in bars 4-6, as well as c1 and a in bar 7. Telling are in particular the notes in bars 5 and 7, where the descending direction of arpeggios makes any sustentions impossible. category imprint: Source & stylistic information issues: Uncertain notes on ledger lines |
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b. 11
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composition: Op. 10 No 8, Etude in F major
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According to us, the authentic, simplified rhythmic notation of the 1st chord may be perceived as unclear in this case. Therefore, we introduce a more exact notation with division into voices. category imprint: Editorial revisions |
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b. 13
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composition: Op. 10 No 8, Etude in F major
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In A, in the middle of the bar there was originally a minim c-g-e1 chord, which was then deleted and replaced with a rest. Eventually, while proofreading FE (→GE,EE), Chopin gave the initial fifth the value of a semibreve. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Authentic corrections of FE |
, it is difficult to assume that the change of time signature was intentional, as in 
does not appear in any of the Etudes (contrary to the manuscripts), cf. the Etude in C, No. 1, in C
minor, No. 4 and C minor, No. 12. This phenomenon is also present in other pieces, even in the most obvious cases, e.g., in the Etudes in F minor, Op. 25 No. 2, in D
, Op. 25 No. 8 or in F minor, Dbop. 36 No. 1.
