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b. 4
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composition: Op. 25 No 1, Etude in A♭ major
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In the main text we give a pair of category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: GE revisions , Authentic corrections of GE , Unclear hairpins in A |
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b. 5
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composition: Op. 25 No 1, Etude in A♭ major
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Lack of the sign in EE may indicate distraction of the engraver, copyist (if it was a copy of A that was the base text to EE) or of Chopin himself, if it was another autograph that constituted the base text or if the dynamic signs were added by Chopin already after the copy had been prepared. Moreover, in EE there are no dynamic signs in bars 4-7. category imprint: Differences between sources; Corrections & alterations |
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b. 5
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composition: Op. 25 No 1, Etude in A♭ major
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In EE1 the lowest note of the last beat in the R.H. is the erroneous a category imprint: Differences between sources issues: Errors in EE |
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b. 6
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composition: Op. 25 No 1, Etude in A♭ major
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Neither in AI nor in A is the type of accent Chopin thought of here clear. The sign is visibly shorter in AI than in A, therefore, we interpret it as a short and long accent, respectively. This is how we give it in the main text. According to us, it is highly likely that a long accent was written also in the base text to FE, reproduced inaccurately as category imprint: Differences between sources; Corrections & alterations issues: Long accents |
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b. 6
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composition: Op. 25 No 1, Etude in A♭ major
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In all manuscripts, FE and EE1 (→EE2) have no flats returning e category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: EE revisions , Omissions to cancel alteration , GE revisions , Errors of A |