



b. 76-77
|
composition: Op. 10 No 10, Etude in A♭ major
..
The main text includes the most natural version of A in terms of sound and pianistics. However, the exceptionally thick, spreading traces of the quill's strokes hinder the reading of A in this place, so the version of FE (→EE) differs significantly from the text of A. One's attention is drawn to the absence of stems extending some of the sounds (which can be however easily explained with an oversight) and the ambiguity related to it, as far as the meaning of the tie combining the last a category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Inaccuracies in FE , Authentic corrections of FE , Uncertain notes on ledger lines |
|||||||
b. 76
|
composition: Op. 10 No 10, Etude in A♭ major
..
The simplified rhythmic notation of a category imprint: Differences between sources issues: EE revisions , GE revisions |
|||||||
b. 76
|
composition: Op. 10 No 10, Etude in A♭ major
..
The crotchet stem, visible in A, extending the c1-e category imprint: Differences between sources issues: Inaccuracies in FE |
|||||||
b. 77
|
composition: Op. 10 No 10, Etude in A♭ major
..
The missing fermata mark in FE (→GE,EE) is almost certainly an oversight of the engraver of FE. In the main text we add a relevant mark for the L.H. to the fermata written in A over the chord in the R.H. category imprint: Differences between sources; Editorial revisions issues: Errors in FE |