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Issues : Enharmonic corrections
b. 20
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composition: Op. 10 No 2, Etude in A minor
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In the sources there are three enharmonically different forms of this chord. Two of them are inaccurately written: in CLI there are no flats lowering d to d category imprint: Differences between sources; Corrections & alterations issues: Accidentals in different octaves , Chopin's hesitations , Omission of current key accidentals , Accompaniment changes , Enharmonic corrections |
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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. 25-26
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composition: Op. 10 No 2, Etude in A minor
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In the 1st half of bar 25 CLI includes the clearly earlier notation with the use of sharps instead of flats (d category imprint: Interpretations within context; Differences between sources issues: Enharmonic corrections , Errors of CLI |
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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 |
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b. 27
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composition: Op. 10 No 2, Etude in A minor
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The sources prove Chopin's hesitation concerning the notation of the 3rd semiquaver on the 2nd and 3rd beats of the bar. It is best seen in Ap, in which the clear traces of corrections are visible in the 2nd group of the notes, and possible ones – in the 3rd one. In the case of the first of the corrections, a category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Errors in FE , Enharmonic corrections , Authentic corrections of FE |