![](/build/images/logo_left-en.png)
![](/build/images/pl-button.5cab5de0.png)
![](/build/images/pomoc-button.d3d09842.png)
![](/build/images/pomoc-button-en.5098433b.png)
Issues : Errors of A
b. 8
|
composition: Op. 10 No 6, Etude in E♭ minor
..
In A there is no category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE |
||||||||
b. 12-13
|
composition: Op. 10 No 6, Etude in E♭ minor
..
We consider the lack of hold of g as an error of A, which was not corrected in any of the subsequent sources. Chopin's more relaxed approach at the time of writing the first phrase of the Etude is indicated by other undeniable mistakes – lack of category imprint: Editorial revisions issues: Errors of A |
||||||||
b. 13-14
|
composition: Op. 10 No 6, Etude in E♭ minor
..
Lack of the tie sustaining a category imprint: Differences between sources issues: Errors of A , Authentic corrections of FE |
||||||||
b. 15
|
composition: Op. 10 No 6, Etude in E♭ minor
..
The version of A may be the inadvertently left original edition of this bar (or maybe even of bar 7). In any case, a proofreading of FE – despite a possible error in the 2nd half of the bar – does not leave any doubts concerning the final intention of the composer. The natural returning f, which in FE is only before the penultimate note of the bar, was moved before the 7th semiquaver in GE and EE, which may render Chopin's intention accurately. category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions , Errors of A , Authentic corrections of FE |
||||||||
b. 15
|
composition: Op. 10 No 6, Etude in E♭ minor
..
The category imprint: Differences between sources issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE |