![](/build/images/logo_left-en.png)
![](/build/images/pl-button.5cab5de0.png)
![](/build/images/pomoc-button.d3d09842.png)
![](/build/images/pomoc-button-en.5098433b.png)
Issues : Authentic corrections in GC
b. 3-4
|
composition: Op. 25 No 10, Etude in B minor
..
category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
||||||||||||||
b. 5
|
composition: Op. 25 No 10, Etude in B minor
..
Both in GC and FE one can see traces of corrections from category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE , Authentic corrections in GC |
||||||||||||||
b. 14
|
composition: Op. 25 No 10, Etude in B minor
..
FE and EE have no sharps returning f category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Omissions to cancel alteration , Authentic corrections in GC |
||||||||||||||
b. 17-19
|
composition: Op. 25 No 10, Etude in B minor
..
Lack of the accent at the beginning of bar 17 in GC (→GE1) at the beginning of bar 17 is most probably Chopin's oversight, who would add accents in these bars in GC. The sign is present in EE, whose base text was also probably completed by Chopin in this way. The accent was added in GE2 (→GE3) too. In FE there are no accents of dynamic character in bars 15-20. In GE all accents were interpreted as shorts, contrary to the compatible, distinct notation of GC and EE (cf. the short accent in bar 20). category imprint: Differences between sources; Corrections & alterations issues: Long accents , Inaccuracies in GE , Authentic corrections in GC |
||||||||||||||
b. 20
|
composition: Op. 25 No 10, Etude in B minor
..
When adding the category imprint: Differences between sources; Corrections & alterations issues: GE revisions , Authentic corrections in GC |