Pitch
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 f1 in CLI and FE (→GE,EE) and d1 in Ap. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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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 manuscripts there is no cautionary natural before g2. category imprint: Differences between sources issues: Cautionary accidentals |
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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 sources there are sharps reminding of the already previously marked raise of these notes before the 8th and 12th semiquavers – a2 and f2. We do not consider them in the main text, as the correct text results here from both the rules on accidentals' validity and the melodic context and fingering. The sharp before a2 is included in CLI, GE2 (→GE3) and EE4. The sharp before f2 is present in FE (→GE1→GE2→GE3,→EE). category imprint: Differences between sources issues: Cautionary accidentals |
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b. 7
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composition: Op. 10 No 2, Etude in A minor
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In Ap there is no returning a2 at the 9th semiquaver of the bar. It must have been Chopin's oversight. category imprint: Differences between sources issues: Omissions to cancel alteration , Errors of A |
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b. 7
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composition: Op. 10 No 2, Etude in A minor
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The lack of raising g2 into g2 on the 10th semiquaver is probably an error of FE (→GE1,→EE2→EE3). It is worth mentioning that when interpreted literally, FEcor has g2 here, as the before the 2nd semiquaver of the bar is still valid (see the previous remark). Similarly, despite lack of the , g2 is featured in GE1 and GE4 (→GE5). The correctly written combination of the E minor triad on the 2nd beat of the bar and g2 in the described place appears only in Ap. category imprint: Differences between sources issues: Errors in FE |