Issues : Synchronization markings
b. 8
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composition: Op. 27 No 2, Nocturne in D♭ major
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In A Chopin placed the small quavers more or less in the middle between the g flat3 crotchet and the c2 semiquaver, not taking particular care to position that group in any relation to the semiquavers in the left hand. That notation was basically copied in the editions, yet in GE, and especially in FE the group was clearly moved towards the beginning of the bar, which could in itself suggest a faulty interpretation. category imprint: Differences between sources issues: Annotations in teaching copies , Synchronization markings , Annotations in FES |
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b. 12
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composition: Op. 27 No 2, Nocturne in D♭ major
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category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Synchronization markings |
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b. 13
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composition: Op. 27 No 2, Nocturne in D♭ major
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W FE, the last semiquaver of the left hand is erroneously written under the last demisemiquaver of the right hand. The line added in FEJ indicates the correct synchronisation of both hands. category imprint: Source & stylistic information issues: Annotations in teaching copies , Synchronization markings , Annotations in FEJ |
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b. 16
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composition: Op. 27 No 2, Nocturne in D♭ major
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The meaning of the line drawn in FES linking the 6th third a flat2-c flat3 with the 3rd semiquaver of the left hand is unclear. Similar signs are most often employed to show the correct synchronization of both hands, yet in this case this would be a considerable alteration of the rhythm, not merely a more detailed explanation. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Synchronization markings , Annotations in FES , Authentic post-publication changes and variants |
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b. 33
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composition: Op. 27 No 2, Nocturne in D♭ major
category imprint: Differences between sources issues: Annotations in FED , Synchronization markings |