Issues : GE revisions
b. 20
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composition: Op. 10 No 6, Etude in E♭ minor
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In A (→FE→GE1→GE2,→EE2→EE3) there is no raising G to G. This patent accuracy was corrected in FES and later editions. In the sources the natural raising g to g is before the first sustained semiquaver in the bar. We move it before the 4th note, according to General Editorial Principles, p. 3. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , GE revisions , Omission of current key accidentals , Annotations in FES , Inaccuracies in A |
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b. 20
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composition: Op. 10 No 6, Etude in E♭ minor
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Lack of the dot prolonging G in FE (→GE1) is probably an error. The sign was added in EE, as well as in GE2 and subsequent GE,s. category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |
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b. 21
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composition: Op. 10 No 6, Etude in E♭ minor category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions , Rhythmic errors |
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b. 22
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composition: Op. 10 No 6, Etude in E♭ minor
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The dots extending the e1-f1 second are not distinctly copied in FE, so in fact only the lower one is visible (perhaps some corrections were performed there). In GE they were completely omitted and from GE2 on, the upper voice was completed with a quaver rest at the end of the bar. The latter was introduced also in EE4. category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |
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b. 24
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composition: Op. 10 No 6, Etude in E♭ minor
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In the main text we give the hairpins after A. In FE (→GE,EE) they were aligned to the third of the upper voice, which most probably was a manner of the engraver of FE. In GE5 the direction of the mark was reversed. category imprint: Differences between sources issues: Inaccuracies in FE , GE revisions , Sign reversal |