Issues : Accidentals in different octaves
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b. 48-52
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composition: Op. 10 No 3, Etude in E major
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In the autographs there are no sharps returning f1 and f3 at the 6th semiquaver in bar 49. From the harmonic point of view, f1 and f3 could be possible here, yet taking into account the regularity of the figuration's structure, one can assume this omission as a clear oversight. The signs were added – probably by Chopin – in a proofreading of FE (→GE,EE; in GE1 and GE1a there is no in the L.H.).
In bars 48-52, AI still lacks several accidentals, yet due to the octave doublings between the parts of both hands, it does not lead to any text doubts. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Accidentals in different octaves , Omissions to cancel alteration , Errors in GE , GE revisions , Authentic corrections of FE |
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b. 73-74
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composition: Op. 10 No 3, Etude in E major
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Lack of the before the 6th semiquaver of the bottom voice in AI means that in both bars it is to be a c1. Knowing the final version, one can doubt whether Chopin simply forgot about the before this note. The use of A as the 5th semiquaver in the L.H. is, however, a strong argument for the authenticity of the literally interpreted version of AI. In A (→FE→EE2→EE3), there is no before the last note in the R.H., which is a patent inaccuracy of the notation. In GE1 (→GE1a), the sign was completed in bar 74, while in the remaining editions – in both bars. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals |
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