Rhythm
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b. 1-8
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composition: Op. 42, Waltz in A♭ major
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GE2 (→GE3) arbitrarily added ties to the e category imprint: Differences between sources issues: GE revisions |
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b. 32
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composition: Op. 42, Waltz in A♭ major
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EE overlooked the crotchet stem next to e category imprint: Differences between sources issues: EE inaccuracies |
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b. 39
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composition: Op. 42, Waltz in A♭ major
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In FE there are no crotchets in the topmost voice. The stems may have been overlooked by the engraver. Chopin did not correct the error in FEG, yet in spite of that GE1 (→GE2→GE3) includes the correct version. The crotchets are also in EE. category imprint: Differences between sources issues: Errors in FE |
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b. 91-92
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composition: Op. 42, Waltz in A♭ major
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The version of FE0 (→EE), in which the last semiquaver in bar 91 is linked with a beam to a quaver in bar 92, is certainly a mistake. It is hard to state clearly whether this error follows exclusively from the engraver's oversights or whether it was also some inaccuracies in Chopin base text that contributed to it. As a consequence, the first of the errors resulted in a change of the 1st value in bar 92 from a crotchet to a quaver and most probably it contributed to further rhythmic displacements: a too early placing of the quaver rest and a possible omission of the R.H. in the 2nd half of the bar (see the adjacent note). Chopin apparently did not correct this mistake in the base text to EE, yet the quaver rest was printed correctly, on the 2nd crotchet. To the main text we adopt the unambiguous version of FE1 and GE, confirmed by Chopin proofreading of FEG and similar rhythmic arrangements in bars 99-100. category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Errors in EE |
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b. 100
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composition: Op. 42, Waltz in A♭ major
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In FE0 (→FE) there is no quaver rest. Chopin did not add this missing sign in FEG, despite this GE has the correct notation. category imprint: Differences between sources issues: Errors in FE |
1 minims. This kind of spelling conveys more distinctly the idea of a continuous 8-bar long trill four-bar long trill Chopin certainly had in mind. However, in the main text we retain the unequivocal notation of the sources. Both notations mean the same, as indicated by the different authentic spellings of the 
