Issues : Accidentals in different octaves
b. 32
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composition: Op. 10 No 3, Etude in E major
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The notation of accidentals is inaccurate in some of the sources, which, however, does not create any problems in interpreting Chopin's intention. It concerns mostly AI, yet in A (→FE→EE2→EE3) there is also no before g2 in the L.H. (in bar 33). category imprint: Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Accidental below/above the note |
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b. 34
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composition: Op. 10 No 3, Etude in E major
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The sound of d2 at the beginning of the bar does not raise any doubts both in the autographs and in FE and EE2 (→EE3). Lack of the lowering d1 to d1 on the 2nd semiquaver in bar 34 in A (→FE1→GE,EE) is an obvious oversight of Chopin (in the manuscripts and first editions of his pieces, we find hundreds of similar inaccuracies). However, the mistake was corrected only in FE2, as the problem of incompliance of d2 at the beginning of the bar and d1 on the 2nd semiquaver was solved by the engraver of GE by deleting the before d2. The erroneous version with d2 and d1 was introduced – most probably under the influence of GE – also in EE4. One has to underline once again that both autographs – in spite of inaccurate notation – are completely unanimous, as far as the use of the B minor, and not B major, chord is concerned; this version is then confirmed by both a proofreading of FE2 and pupils' copies, bearing numerous signs of working on the Etude with Chopin. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Authentic corrections of FE |
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b. 38-40
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composition: Op. 10 No 3, Etude in E major
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The sources lack in some necessary cautionary accidentals – the fully correct text is only in GE4 (→GE5). If we take into consideration the logic of the figuration's structure, all these situations may be considered as obvious oversights, in spite of the fact that in a few cases the harmonic relations would allow to consider the created chords as possible. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Omissions to cancel alteration , GE revisions , Errors of A , Authentic corrections of FE |
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b. 45
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composition: Op. 10 No 3, Etude in E major
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Both autographs lack some of the necessary naturals in this bar, although these which are included allow for a clear interpretation of the text:
The necessary signs were added in FE (→GE,EE), while in GE4 (→GE5), the unnecessary at the end of the bar was removed. category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Omission of current key accidentals , Authentic corrections of FE , Inaccuracies in A |
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b. 46-47
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composition: Op. 10 No 3, Etude in E major
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The notation of accidentals is not accurate in the autographs, particularly in AI. Typical for Chopin omissions of signs written simultaneously or slightly earlier next to proper notes in another octave, as well as oversights of cancellations of previous alterations, do not, however, lead to any misunderstandings, as far as the interpretation of the intended text is concerned. In all sources there are also signs of cautionary or reminding nature. In the main text we include these which Chopin wrote in A. category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Cautionary accidentals , Authentic corrections of FE , Inaccuracies in A |