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b. 40
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composition: Op. 10 No 7, Etude in C major
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In FE (→GE,EE) the accents were assigned to the right hand and put over the upper stave. The notation of A is ambiguous in this respect, therefore, in the main text we place the signs between the staves. In GE short accents were used, in accordance with this edition's most frequent manner of reproducing all "accent-like" signs of different length featured in FE. Also in this aspect the notation of A is not entirely unanimous, hence we permit an alternative interpretation of the accents as short. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 41
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composition: Op. 10 No 7, Etude in C major
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According to us, the comparison with the accents from the previous bar suggests that both the placement and the kind of accent written in A (FE→GE,EE) may be interpreted in two ways, which we include in variant suggestions. category imprint: Interpretations within context; Differences between sources issues: Long accents |
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b. 41
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composition: Op. 10 No 7, Etude in C major
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The notation of the next line, overlapping with the slurs under the pairs of chords in the L.H. in A, was certainly a reason for their omission in FE (→GE,EE). category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 42-43
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composition: Op. 10 No 7, Etude in C major
category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 42
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composition: Op. 10 No 7, Etude in C major
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According to us, omission of the long accent at the beginning of the bar and the category imprint: Differences between sources issues: Errors in FE |
in 