Rhythm
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b. 1
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composition: Op. 10 No 2, Etude in A minor
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We give the time signature marking after CLI and Ap. Although FE (→GE,EE) has category imprint: Differences between sources issues: 4/4 or 2/2 |
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b. 1-8
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composition: Op. 10 No 2, Etude in A minor
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The crotchets in bars 1-2 and 5-8 constitute a significant change of the concept in Ap in the scope of the Etude's technical problems and its sound image (cf. the characteristic of Ap). As the version does not appear in any of the sources related to the publication of the piece – neither in CLI nor in FE (→GE,EE) – it seems that the prolonged articulation of the accompanying two-note chords appeared only as a transitional phase in the shaping process of the Etude's text or – which, according to us, is more plausible – as a one-time exclusive idea. See also the remark concerning bars 3-4. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
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b. 3-4
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composition: Op. 10 No 2, Etude in A minor
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In Ap the rhythmic values of subsequent two-note chords of the lower voice in the R.H. create in those bars (as well as in subsequent repetitions) an alternating short-long scheme (semiquaver-crotchet). Sometimes the resounding length contrast is additionally underlined with accents. In the main text we give the homogenous, as far as the sound is concerned, version of FE (→GE,EE). category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
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b. 4
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composition: Op. 10 No 2, Etude in A minor
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The corrections of the rhythm written in FEcor confirm that the crotchets in CLI and Ap is the original version, changed by Chopin in all three analogous places (bars 12 and 39). category imprint: Differences between sources; Corrections & alterations |
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b. 4
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composition: Op. 10 No 2, Etude in A minor
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The authenticity of the b note's hold is undoubtedly certified only in Ap (only in this bar – cf. bars 12 and 39). The ties featured in a part of the first editions are either possibly (GE) or certainly (EE3, probably under the influence of GE) a revision. Arbitrarily added, allegedly missing ties in the places in which not all components of two-note chords or chords are held with ties are to be found in first editions of Chopin's pieces on a number of occasions. To the main text we adopt the undoubtedly authentic version of FE (→EE2→EE3). category imprint: Differences between sources issues: EE revisions , GE revisions |
, it is hard to assume that the change in time signature was done on purpose, if in 
marking was not used in the Etudes even once – contrary to the manuscripts – cf. Etudes in C
minor, No. 4, F major, No. 8 and C minor, No. 12. The phenomenon appears also in other pieces, even in totally clear situations, e.g., in Etudes in F minor, Op. 25 No. 2, D
major, Op. 25 No. 8 or F minor, Dbop. 36 No. 1. 
