Issues : Chopin's hesitations
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b. 21-22
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composition: Op. 10 No 2, Etude in A minor
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The octave chords in Ap constitute, as it seems, only a transitional modification of the initial concept of seventh chords. Cf. bars 23-24. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
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b. 22
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composition: Op. 10 No 2, Etude in A minor
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In Ap Chopin marked the enharmonic change of the bass note in the last chord, however, eventually he returned to the original concept in FE (→GE,EE). Cf. bar 20. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Enharmonic corrections |
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b. 23-24
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composition: Op. 10 No 2, Etude in A minor
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Similarly as two bars before, Ap features chords with the span of an octave on the 2nd beat of these bars. In the main text we give the chords with the span of a seventh present in the remaining sources.
In bar 23 there is no cautionary category imprint: Differences between sources issues: Chopin's hesitations , Cautionary accidentals , Accompaniment changes |
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b. 25
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composition: Op. 10 No 2, Etude in A minor
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It is hard to determine Chopin's motivation at the time when he was writing the e-e1 octave in Ap as a quaver. In the version for printing he returned to the original value of a crotchet. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations |
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b. 26
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composition: Op. 10 No 2, Etude in A minor
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The third note is written in Ap as d category imprint: Differences between sources issues: Chopin's hesitations , Enharmonic corrections |
in 
in 
before b in 
