b. 7
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composition: Op. 10 No 5, Etude in G♭ major
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EE2 does not have the accent added in EE3 (→EE4) together with staccato dots under the quavers (probably by analogy with bar 15). In GE a short accent was applied and moved over the crotchet. In the main text we preserve the notation of A (→FE). category imprint: Differences between sources issues: Long accents , EE revisions , Placement of markings , Errors in EE , GE revisions |
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b. 8
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composition: Op. 10 No 5, Etude in G♭ major
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In A the first chord in the L.H. is a crotchet. The possible mistake (theoretically it could be considered as a simplified two-voice notation) was corrected in FE (→GE,EE). category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Errors of A , Authentic corrections of FE |
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b. 8
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composition: Op. 10 No 5, Etude in G♭ major
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category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 9
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composition: Op. 10 No 5, Etude in G♭ major
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We add a cautionary before d1; it was already performed in GE and EE4. We remove the unjustified before c1 in the 2nd chord; the change was already introduced in GE and EE4. category imprint: Differences between sources issues: GE revisions , Cautionary accidentals , Last key signature sign |
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b. 12
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composition: Op. 10 No 5, Etude in G♭ major
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In A the head of the note embraces the area of two notes, d3 and e3, which stems from the simplified probably hasty correction. In spite of this, in FE (→GE1,EE2→EE3) it was correctly interpreted as e3. However, the reviser of GE2 (→GE3→GE4→GE5) changed it to d3, which was accepted as legitimate also in EE4. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: EE revisions , Corrections in A , GE revisions |