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Issues : Accompaniment changes
b. 7
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composition: Op. 10 No 2, Etude in A minor
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The alignment of the notation of the L.H. to the rhythm of the previous bars introduced in FEcor (→FE→GE,EE) is an undeniable improvement. category imprint: Differences between sources; Corrections & alterations |
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b. 7
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composition: Op. 10 No 2, Etude in A minor
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In the main text we give b1, which Chopin introduced instead of previous a1 while still preparing the base text for FE (→GE,EE), as the topmost note of the chord. The inner note of the chord reveals Chopin's hesitation between f category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 9-15
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composition: Op. 10 No 2, Etude in A minor
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The articulation of the accompanying two-note chords, extended in Ap in bars 9-10 and 13-15, seems to be a one-time exclusive idea or a certain transitional phase in the shaping process of the Etude's text. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
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b. 10-14
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composition: Op. 10 No 2, Etude in A minor
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The third on the 3rd beat in bar 10 in CLI was probably meant to be a fifth in the original version (Terzverschreibung). In the sources Chopin's hesitation concerning the placement of the cautionary category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations issues: EE revisions , GE revisions , Accompaniment changes , Authentic corrections of FE , Errors of CLI |
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b. 11-12
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composition: Op. 10 No 2, Etude in A minor
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In Ap the rhythmic values of the subsequent two-note chords in the lower voice of the R.H. constitute an alternating short-long (semiquaver-crotchet) scheme in these bars. Moreover, the contrast of the resounding's length is underlined with accents here and there. In the main text we give the homogeneous version of FE (→GE,EE), as far as the sound is concerned. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |