Rhythm
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b. 1
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composition: Op. 10 No 1, Etude in C major
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We give the time signature's indication after CLI. Although FE (→GE,EE) has a category imprint: Differences between sources issues: Changes of metre , 4/4 or 2/2 |
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b. 5-6
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composition: Op. 10 No 1, Etude in C major
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In CLI the G1-G octave in bar 5 is a semibreve, while the D1-D octave in bar 6 – a minim. It seems to be highly unlikely for this obvious error to be included in [AI]. category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Errors of CLI |
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b. 7-12
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composition: Op. 10 No 1, Etude in C major
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In FE there are no ties sustaining the upper notes of the octaves in bars 7-8, 9-10 and 11-12. According to us, the most probable explanation is a kind of misunderstanding at the time of changing the original brief notation of the octaves with the use of 8 under the upper notes for regular notation. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Abbreviated octaves' notation |
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b. 12-14
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composition: Op. 10 No 1, Etude in C major
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In FE there are no ties sustaining the upper notes of the octaves in bars 11-12 and 13-14. According to us, the most probable explanation is a misunderstanding at the time of changing the original brief notation of the octaves with the use of 8 under the upper notes for regular notation. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions |
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b. 26
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composition: Op. 10 No 1, Etude in C major
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The d note as a dotted minim appears only in FE, which most probably means that Chopin introduced it here instead of a semibreve only during a proofreading. Overseeing this change in EE may be explained with a mistake, revision or existence of another phase of FE's proofreading, not included in EE. category imprint: Differences between sources |
, it is difficult to assume that the change of time signature was intentional, as in 
does not appear in any of the Etudes (contrary to the manuscripts), cf. the Etude in C
minor, No. 4, F major, No. 8 and C minor, No. 12. This phenomenon is also present in other pieces, even in the most obvious cases, e.g., in the Etudes in F minor, Op. 25 No. 2, D
major, Op. 25 No. 8 or F minor, Dbop. 36 No. 1.
