



Pitch
b. 1
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composition: Op. 25 No 1, Etude in A♭ major
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A greater schematic approach is generally characteristic for original versions, in this case AI. Lowering some bass notes or doubling them during the works on a piece is characteristic for Chopin – cf., e.g., the Etude in D See also the note to bar 36. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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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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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 |
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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 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 |