Shorthand & other
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b. 2-3
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC the part of the R.H. is written in these bars in an abbreviated manner – with the help of •/• signs – as repetition of bar 1. category imprint: Differences between sources issues: Abbreviated notation of A |
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b. 4
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC, the 2nd, 3rd and 4th group of semiquavers are written in an abbreviated manner as repetition of the first. This notation – certainly drawn from [A] – undoubtedly means repetition of genuine pitch of the sounds from the 1st group and not of the notes themselves without accidentals, which was initially not understood in any of the first editions (FE, EE1, GE1). The necessary sharps, single and double, were added only in EE2 (→EE3) and GE2 (→GE3). category imprint: Differences between sources issues: Abbreviated notation of A |
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b. 7-8
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC, in both bars, the 2nd, 3rd and 4th group of semiquavers are written in an abbreviated manner as repetition of the first. Similarly in analogous places – cf., bars 19-20, 23-24, 35-36, 39-40, 49-50 and 53-54. category imprint: Differences between sources issues: Abbreviated notation of A |
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b. 19-20
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composition: Op. 25 No 6, Etude in G♯ minor
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In FE in both bars the 2nd, 3rd and 4th groups of semiquavers are written in an abbreviated manner as repetition of the first. category imprint: Differences between sources issues: Abbreviated notation of A |
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b. 23-24
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC, in both bars, the 2nd, 3rd and 4th groups of semiquavers are written in an abbreviated manner as repetition of the first. category imprint: Differences between sources issues: Abbreviated notation of A |