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Issues : Main-line changes
b. 8
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composition: Op. 25 No 7, Etude in C♯ minor
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The authenticity of the dotted rhythm in GC (→GE) and EE does not raise any doubts. The equal semiquavers of FE may be considered as a result of inattention of the engraver or misunderstanding of the handwritten base text, yet the version can be also a result of Chopin's correction, introduced still in the manuscript or proofreading of FE. As one of the traces of possible changes performed in print, one can consider the too long slur, adjusted to the note being closer to the bar line than the visible g category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Main-line changes , Dotted or even rhythm |
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b. 26
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composition: Op. 25 No 7, Etude in C♯ minor
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In GC (→GE) Chopin wrote here a g category imprint: Differences between sources; Corrections & alterations issues: Main-line changes , Authentic corrections in GC |
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b. 32
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composition: Op. 25 No 7, Etude in C♯ minor
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Same as in bar 30, the version of FE, being a result of Chopin proofreading (introducing the dotted rhythm in the top voice and sustaining b1 already from the 5th quaver of the bar), is given by us in the main text in a modified form. The simplified rhythmic notation, in accordance with Chopin's habits concerning this issue, according to us, significantly increases the text's legibility. The missing ties sustaining the e1-g1 third in GC (→GE) are almost certainly the copyist's oversight. category imprint: Differences between sources; Editorial revisions; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Main-line changes , Errors of GC , Dotted or even rhythm |
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b. 47
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composition: Op. 25 No 7, Etude in C♯ minor
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The category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Main-line changes , Authentic corrections in GC |