b. 7
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composition: Op. 25 No 1, Etude in A♭ major
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In the first three figures the L.H. in AI has a b as the 3rd and 5th semiquavers. It is an earlier version, changed by Chopin still before writing A, in which the eventual version – with a – is already written in the final form. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 7-8
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composition: Op. 25 No 1, Etude in A♭ major
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In AI in both bars the 3rd figure in the R.H. preserves the regular melodic shape, i.e. the last two notes of the sextuplet are the same as the second and third note. Chopin changed it in A (→GE), correcting the already written original version. The remaining sources also include the final version. category imprint: Differences between sources; Corrections & alterations issues: Deletions in A , Accompaniment changes |
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b. 7
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composition: Op. 25 No 1, Etude in A♭ major
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The version of #CFP, although possible from the harmonic point of view, is most probably simply a mistake. category imprint: Differences between sources issues: Errors of CDP |
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b. 8
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composition: Op. 25 No 1, Etude in A♭ major category imprint: Differences between sources; Corrections & alterations |
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b. 8
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composition: Op. 25 No 1, Etude in A♭ major
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In A and the remaining sources, the a note, present in AI as the highest note of the 1st figure in the L.H., was replaced by d1. Only in FE the note is not provided with a cautionary flat. category imprint: Differences between sources; Corrections & alterations issues: Cautionary accidentals , Accompaniment changes |