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Issues : Authentic corrections of FE
b. 65
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composition: Op. 10 No 5, Etude in G♭ major
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The change of the rhythmic configuration in the 1st triplet performed in a proofreading of FE (→GE,EE) is an example of a characteristic rhythmic variant, frequently encountered in Chopin's works (cf. Scherzo in C category imprint: Differences between sources issues: Authentic corrections of FE , Inserted rest |
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b. 66
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composition: Op. 10 No 5, Etude in G♭ major
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Chopin prolonged the sound of c category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 72
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composition: Op. 10 No 5, Etude in G♭ major
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e category imprint: Interpretations within context; Differences between sources issues: Terzverschreibung error , Errors in the number of ledger lines , Errors of A , Authentic corrections of FE |
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b. 72-73
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composition: Op. 10 No 5, Etude in G♭ major
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Lack of the tie sustaining d category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in EE , Errors of A , Authentic corrections of FE |
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b. 73-74
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composition: Op. 10 No 5, Etude in G♭ major
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Two long accents in FE (→GE1→GE1a) were certainly added by Chopin. They confirm the way in which Chopin understood all signs written with the first appearance of this phrase (bars 69-70). All subsequent versions are undoubtedly a result of inaccuracy or revision. We suggest to add the accent in the 2nd half of bar 74, as it seems highly unlikely that Chopin would want the last motif to be performed in a different way. category imprint: Differences between sources; Editorial revisions issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE , Errors in EE , GE revisions , Authentic corrections of FE |