mUltimate Chopin

Op. 43, Tarantella

Text Compare Notes Sources Description
Page: 
Source: 
p. 6, b. 148-178
p. 1, b. 1-27
p. 2, b. 28-57
p. 3, b. 58-87
p. 4, b. 88-117
p. 5, b. 118-147
p. 6, b. 148-178
p. 7, b. 179-208
p. 8, b. 209-239
p. 9, b. 240-270
Main text
Main text
A - Autograph
FC3 - Third Fontana's Copy
FE - French Edition
FE1 - First French edition
FED - Dubois copy
GE - German Edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - First English edition
IE - First Italian edition
Select notes: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
A - Autograph
FC3 - Third Fontana's Copy
FE - French Edition
FE1 - First French edition
FED - Dubois copy
GE - German Edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - First English edition
IE - First Italian edition
Importance
All
Important
Main
Undo Clear
Prezentacja
Select 
copy link PDF Main text

  b. 159

In A The E-e octave in the second half of bars 151, 155 and 159 in LH is a crotchet without any augmentation dots or rests. It seems more appropriate to complete the rhythm with a rest, just yhe way Chopin notated it in a corresponding bar 163. The augmentation dots found in the discussed bars in #FE3 (→FE#(→IE), GE and EE must have been the copyist's addition.

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues:

notation: Rhythm