



b. 36
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composition: Op. 10 No 7, Etude in C major
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In A there are visible traces of adjustments of the 2nd and 3rd quavers. The removed version could have been the following: category imprint: Corrections & alterations issues: Corrections in A |
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b. 36-37
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composition: Op. 10 No 7, Etude in C major
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We suggest to add a slur on the basis of analogy with bars 3-4, in which Chopin added a relevant slur, while proofreading FE. The addition was already performed in EE4. category imprint: Editorial revisions |
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b. 37-39
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composition: Op. 10 No 7, Etude in C major
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A (→FE→EE,GE1→GE2) has naturals before b1, the upper note of the last semiquaver in bars 38-39. The unnecessary accidentals were removed in GE3 (→GE4), yet adding a category imprint: Differences between sources issues: GE revisions , Cautionary accidentals , Last key signature sign |
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b. 37
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composition: Op. 10 No 7, Etude in C major
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Omission of the category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 38
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composition: Op. 10 No 7, Etude in C major
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The rhythm of A, interpreted literally, is unclear. Aligning the notes of the L.H. under the part of the R.H. suggests that Chopin thought of an analogous version to the version of bar 34 in this place. In the main text we adopt the version of FE (→EE3), as it is the latest authentic source, while the notation therein is faultless and unequivocal. The suggested variants include also different placement and number of accents in GE and EE4, most probably or certainly non-authentic. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Errors in FE , Rhythmic errors , Errors of A , Authentic corrections of FE |