Articulation, Accents, Hairpins
|
b. 12
|
composition: Op. 25 No 6, Etude in G♯ minor
..
In the main text we give four staccato dots in the 2nd half of the bar after FE, yet the version of EE with dots only over the bass grounds may also be authentic. Lack of dots over the last two quavers are most probably an oversight of FC (→GE1). The version was then revised in GE2 (to the version of FE) and GE3 (to the version of EE). category imprint: Differences between sources issues: GE revisions , Inaccuracies in FC |
|||||
|
b. 29
|
composition: Op. 25 No 6, Etude in G♯ minor
..
category imprint: Differences between sources issues: GE revisions |
|||||
|
b. 43
|
composition: Op. 25 No 6, Etude in G♯ minor
..
The most detailed articulation indications in FE are most probably a result of Chopin proofreading. category imprint: Differences between sources issues: Authentic corrections of FE |
|||||
|
b. 46
|
composition: Op. 25 No 6, Etude in G♯ minor
..
The wedges present only in FE may be an authentic clarification of notation. However, it cannot be excluded that the engraver misinterpreted Chopin 'ones' of the fingering (in FE there are no fingering digits). This type of error certainly occurred in the Etude in D category imprint: Differences between sources |
|||||
|
b. 57
|
composition: Op. 25 No 6, Etude in G♯ minor
..
The category imprint: Differences between sources issues: Authentic corrections of FC |
major, Dbop. 36 No. 3, bars 69-70, as well as in the Etude in F major, Op. 10 No. 8, 
in 