Rhythm
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b. 1
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composition: Op. 25 No 12, Etude in C minor
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The use of category imprint: Differences between sources issues: Changes of metre , Inaccuracies in GE , Inaccuracies in FE , GE revisions , 4/4 or 2/2 |
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b. 24
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composition: Op. 25 No 12, Etude in C minor category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 78-80
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composition: Op. 25 No 12, Etude in C minor
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The separation and extension of the sound of the c1 and d1 notes is marked in both analogous bars – bars 78 and 80 – only in FC (→GE with the d1 note shortened to a quaver), which has to be considered to be an inaccuracy of the remaining sources. In turn, it is uncertain whether the rhythmic value of the d1 notes, exceeding the bar, corresponds to Chopin's intention, as the lack of quaver flags can be considered here to be an oversight (this is how it was interpreted in GE). Due to the fact that we can encounter such a type of notation in other Chopin's pieces (cf. the Etude in A minor, No. 4, bar 52 or in E minor, No. 5, bar 35), in the main text we preserve the crotchets written in FC. category imprint: Differences between sources issues: EE revisions , GE revisions |
time signature surprises only in 
indication was not used in the Etudes – contrary to the manuscripts – at all, neither in Op. 25 nor in 
major, 
