Pitch
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b. 12
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composition: Op. 28 No. 1, Prelude in C major
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In GE the middle note of the 2nd triplet is an erroneous d1. It is a consequence of the note having been inaccurately placed – too low – in FC. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FC , Errors repeated in GE |
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b. 13
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composition: Op. 28 No. 1, Prelude in C major
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In EE1 the last semiquaver in the R.H. in the 1st half of the bar is an erroneous a1 instead of an f1. The mistake was rectified in EE1a (→EE2). category imprint: Differences between sources issues: EE revisions , Errors in EE , Terzverschreibung error |
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b. 13
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composition: Op. 28 No. 1, Prelude in C major
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The correction visible in A – deletion of d as the 2nd semiquaver – shows the initial version of the chord constituting the harmonic basis of the bar. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 29
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composition: Op. 28 No. 1, Prelude in C major category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 33
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composition: Op. 28 No. 1, Prelude in C major
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One can see a correction in A at the beginning of the bar – Chopin most probably deleted the crotchet e-g-c1-e1 chord and the fermata placed above it. According to us, it means that the final sustained passage was to be written as a common arpeggio ( category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
). Had Chopin wanted to both play this chord and perform the arpeggio, written in semiquavers, he would not have provided it with a fermata, which makes sense only in the last bar.