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Issues : Accompaniment changes
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. 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 |
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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 category imprint: Differences between sources; Corrections & alterations issues: Cautionary accidentals , Accompaniment changes |
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b. 30
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composition: Op. 25 No 1, Etude in A♭ major
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The pencilled corrections visible in AI prove that originally, the 2nd half of this bar was identical as in bar 26. category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes , Main-line changes |