b. 56-57
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composition: Op. 10 No 3, Etude in E major
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The accents in A written on the bottom stave clearly refer to the g notes. In spite of that, in FE (→GE) they were placed under B in the L.H., which, according to us, is a result of misunderstanding of the autograph. The overlooked in EE2 signs were completed in EE3 (→EE4), however, they were arbitrarily given the form of vertical accents. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in EE |
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b. 56
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composition: Op. 10 No 3, Etude in E major
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The staccato dots on the 2nd and 3rd quavers visible in AI is the original version of the articulation, replaced in A by a slur and a dot. Moreover, in A Chopin provided the first quaver in the bar, B, with a wedge. Lack of both staccato signs in the editions is probably a mistake, yet it could have been accepted by Chopin. category imprint: Differences between sources; Corrections & alterations issues: Errors in FE , Wedges |
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b. 57
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composition: Op. 10 No 3, Etude in E major
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One can have doubts concerning the type of the accent used in A to indicate the beginning of the motif. According to us, it is the long accent that is more likely. In FE (→GE1) the sign was reproduced inaccurately, so that in EE2 (→EE3) it was placed over the 2nd semiquaver in the bar. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in FE , EE inaccuracies |
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b. 57
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composition: Op. 10 No 3, Etude in E major
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The cautionary before g1 is our addition. category imprint: Editorial revisions |
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b. 58
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composition: Op. 10 No 3, Etude in E major
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In AI the 2nd half of the bar is marked on the top stave as repetition of the first. See also the note on abbreviations in the L.H. category imprint: Source & stylistic information issues: Abbreviated notation of A |