Pitch
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b. 4
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composition: Op. 25 No 3, Etude in F major
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EE1 omitted the bass clef at the end of the bar. This patent error, frequent in Chopin sources, was already corrected in EE2 (→EE3). category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 16
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composition: Op. 25 No 3, Etude in F major
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FE and EE1 have an e as the 4th quaver of the bottom voice in the L.H. This patent error almost certainly happened to Chopin in [A], as the note on this pitch was initially written also in GC. Besides GC (→GE) the correct text was also introduced in EE2 (→EE3). category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Errors in EE , Authentic corrections in GC |
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b. 20-24
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composition: Op. 25 No 3, Etude in F major
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The majority of the sources are missing some of the necessary cautionary signs (flats), which, however, only to the minimal extent impedes the correct interpretation of the text. As it can be concluded from the notation of FE, probably the closest to the notation of [A], Chopin generally omitted the sign next to the note, which already appeared in the same bar, with a relevant sign, one octave lower or higher (in the discussed fragment, FE lacks 12 flats). In GC and EE1 the notation is more precise, further additions were also introduced in EE2 (→EE3), yet only GE has a fully correct text. Similarly in bars 25-28. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , EE inaccuracies , Inaccuracies in GC |
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b. 21
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composition: Op. 25 No 3, Etude in F major
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GC (→GE1) and FE have a category imprint: Differences between sources issues: GE revisions |
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b. 22
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composition: Op. 25 No 3, Etude in F major
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GE1 has an erroneous F instead of G as the 2nd quaver in the L.H. The error was corrected in GE2 (→GE3). category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions |
before b
1 at the beginning of the bar. The sign is unnecessary here, however, it points to Chopin's way of thinking, who probably already here heard the C minor key, prevailing in bars 21-24. The sign was overlooked in