Pedalling
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b. 95
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composition: Op. 50 No. 1, Mazurka in G major
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The missing pedalling in GE must be considered an inaccuracy, since Chopin wrote here markings in A1 (→FE→EE); moreover, all analogous bars include them in both groups of the sources. Due to that reason, we explicitly give the pedalling in the main text, in a formula analogous to b. 91: and two , one from A1 and the other modelled after the markings of GE in b. 91, 97 and 99. category imprint: Differences between sources; Editorial revisions |
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b. 99
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composition: Op. 50 No. 1, Mazurka in G major
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The pedal change in A1 guarantees the clarity of the harmonic sequence and does not intermingle the c1-b semitone. The longer pedal in GE offers a fuller sound and preserves the bass note. Since the advantages and disadvantages of both versions are equal, in the main text we suggest a variant solution. category imprint: Differences between sources; Editorial revisions |
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b. 103
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composition: Op. 50 No. 1, Mazurka in G major
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A under the 2nd quaver is both in A1 and GE1, which proves that it is not an inaccuracy, but a precise indication on how to preserve the G1 bass note with a pure G major chord. In the remaining sources, the mark was moved due to carelessness or due to an attempt at correcting the allegedly inaccurate notation of A1: in FE (→EE) it was moved under the 3rd beat of the bar, whereas in GE2 to the beginning of the bar. category imprint: Differences between sources issues: Inaccuracies in FE , GE revisions |
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b. 104
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composition: Op. 50 No. 1, Mazurka in G major
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The mark is included in all editions except for A1. In such contexts, Chopin would often omit that mark at the end of a piece, and the editors would often add it. Therefore, we assume that the asterisk may be inauthentic and we suggest a variant solution in the main text. category imprint: Differences between sources; Editorial revisions issues: GE revisions , FE revisions , No pedal release mark |
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