Issues : Accompaniment changes
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b. 33
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composition: Op. 27 No 2, Nocturne in D♭ major
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It is clearly visible in A that Chopin changed the last note in the left hand from f to a flat. category imprint: Corrections & alterations issues: Corrections in A , Accompaniment changes |
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b. 34
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composition: Op. 27 No 2, Nocturne in D♭ major
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In A there are traces of changing the 3rd semiquaver from a to e and the 5th semiquaver from c sharp1 to a. category imprint: Corrections & alterations issues: Corrections in A , Accompaniment changes |
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b. 60-61
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composition: Op. 27 No 2, Nocturne in D♭ major
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The traces of erasing visible in A still allow us to decipher that initially the 4 bass notes in those bars had been A flat-A flat-A flat-A flat1. Eventually Chopin changed them in A to A flat1-A flat-A flat1-A flat. Cf. similar alterations of the same notes in the Polonaise in C sharp minor Op. 26 no. 1, bars 45 and 52-53. Cf. later overlapping changes in teaching copies. category imprint: Corrections & alterations issues: Corrections in A , Accompaniment changes |
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b. 63-65
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composition: Op. 27 No 2, Nocturne in D♭ major
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In A (→GE) the sustaining of notes d flat with the hand is marked only in bar 64. When proofing FE (→EE), Chopin decided to extend that notation to the 2nd half of bar 63 and the entire bar 65. Cf. bars 67-69. category imprint: Differences between sources |
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b. 66-69
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composition: Op. 27 No 2, Nocturne in D♭ major
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The four-bar slur in the left hand part was added in the proofing of FE (→EE). This is almost certainly one of the elements introduced by Chopin in order to make the notation more precise. category imprint: Differences between sources; Corrections & alterations |
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