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Op. 10 No 3, Etude in E major

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b. 54-57

composition: Op. 10 No 3, Etude in E major

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In AI the layout of beams in the part of the R.H. does not reflect the structure of the motifs to such an extent as in A. The corrections in this scope visible in AI in bar 57 prove that the final concept crystalised at the time of writing this bar.

category imprint: Source & stylistic information

b. 55-56

composition: Op. 10 No 3, Etude in E major

Tie to f1 in AI, A & EE3 (→EE4)

No tie in FE (→GE,EE2)
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Lack of the tie of f1 is most probably a result of inattention of the engraver of FE (→GE,EE2). The tie is present in both autographs, it was also added in EE3 (→EE4). Cf. bar 56.

category imprint: Differences between sources

issues: EE revisions , Errors in FE

b. 55-57

composition: Op. 10 No 3, Etude in E major

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In the editions the c and B quavers in bars 55-56 are not linked, yet provided with stems. Similarly to g at the end of bar 57 in GE. See also bars 54-57.

category imprint: Differences between sources

issues: GE revisions , FE revisions

b. 58-60

composition: Op. 10 No 3, Etude in E major

No prolongations in AI

9 quavers in A

5 quavers in FE (→EE)

5 quavers in GE
..

In A, all g-f combinations in the bottom voice in the R.H. (also in bars 56-57) are precisely emphasised by their separation as combined pairs of quavers and accentuating the first note of each pair (g). This subtlety of notation was only partially reproduced in FE (→EE) – it is only the first and fourth quavers in the bar that were separated. As the accents are also respectively reduced, the whole may be considered to have been changed on purpose. However, not being certain thereof, in the main text we give the version of A.

In FE (→EE) last two separated notes have separate stems instead of a quaver beam. The notation of GE is similarly inaccurate, yet it is only f at the beginning of bar 58 that has a stem (overlooked in GE5). See the note to bars 44-57.

category imprint: Differences between sources

issues: Errors in FE , Errors in GE , GE revisions

b. 60-61

composition: Op. 10 No 3, Etude in E major

Two-voice notation in AI

Single-voice notation in A

FE (→GE,EE)
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The fact of rejecting the two-part notation is an example of Chopin's striving for simplicity and economy of the notation, so characteristic for him. At the beginning of bar 60 in FE (→GE,EE), there is no stem combining f to e1, which is almost certainly a mistake.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in FE