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Issues : GE revisions
b. 1
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composition: Op. 10 No 6, Etude in E♭ minor
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In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and the dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions |
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b. 1-4
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composition: Op. 10 No 6, Etude in E♭ minor
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Each of four slurs in the L.H. written in A embraces the entire bar, despite the fact that due to the inconvenient graphic layout, the notation is not always precise. In FE (→EE2) only two out of them were recreated, in bars 2-3. Similarly in GE1, in which the slur in bar 3 is led only to the penultimate note, a category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Inaccurate slurs in A , GE revisions |
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b. 4-13
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composition: Op. 10 No 6, Etude in E♭ minor
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We add cautionary flats before e category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 7
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composition: Op. 10 No 6, Etude in E♭ minor
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In the main text we give c category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 8
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composition: Op. 10 No 6, Etude in E♭ minor
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The non-slashed grace note in A (→FE) was considered in GE and EE as the notation's inaccuracy. In Chopin's notation, non-slashed grace notes are often treated interchangeably with slashed ones. However, the erasures visible in this place in A suggest that Chopin corrected the rhythmic notation here and he may have thought about a classical long grace note. category imprint: Differences between sources issues: EE revisions , GE revisions |