Pitch
b. 20
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composition: Op. 10 No 6, Etude in E♭ minor
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The change of the notation introduced by Chopin in a proofreading of FE (→GE,EE) manifests both the harmonic progression and rhythmic values (shorter sound of g1). In EE2 (→EE3) the quaver flag is missing. category imprint: Differences between sources issues: Different values of chord components , Enharmonic corrections |
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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. 23
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composition: Op. 10 No 6, Etude in E♭ minor
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In the chord in the middle of the bar, Chopin overlooked the returning b in A. However, two notes later he added a cautionary natural before a (arranged a little bit too high). category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE , Accidental below/above the note , Last key signature sign |
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b. 26
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composition: Op. 10 No 6, Etude in E♭ minor
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It is unclear whether the lack of the bottom note of the octave (G1) in FE (→GE,EE) is a result of the engraver's inaccuracy or Chopin's intervention. The fingering (the 1st finger changed to the 3rd one), which is justified only with an octave being struck, yet it can also be used on a single note (in EE it was changed to the one matching the version without the bottom note), does not help to solve this issue. We trust more the version of A, therefore, in the main text we depend chiefly on it. category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE |
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b. 28
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composition: Op. 10 No 6, Etude in E♭ minor
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The natural before the last note was added in the last proofreading of FE (→EE), as it was not included in GE. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |