



Rhythm
b. 1-3
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composition: Op. 28 No. 2, Prelude in A minor
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The two-part notation of the L.H. part, in which the recurring B-A category imprint: Differences between sources; Corrections & alterations issues: FE revisions |
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b. 1
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composition: Op. 28 No. 2, Prelude in A minor
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Nothing indicates that the change of metre introduced in EE could be authentic. category imprint: Differences between sources issues: EE revisions , 4/4 or 2/2 |
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b. 3-19
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composition: Op. 28 No. 2, Prelude in A minor
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Just like in b. 1-3, later in the Prelude, CGS consistently stuck to a different division into parts, indicating the R.H. to perform the topmost notes on the bottom stave. The only exception are b. 6-7, in which the smaller span of figuration makes it possible to be performed entirely by the L.H. category imprint: Differences between sources |
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b. 10
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composition: Op. 28 No. 2, Prelude in A minor
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The correction visible in As allows us to decipher the initial rhythm of the 2nd and 3rd R.H. notes – they were two semiquavers. category imprint: Corrections & alterations; Source & stylistic information |
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b. 12-13
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composition: Op. 28 No. 2, Prelude in A minor
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In As one can see crossings-out in the R.H. part. In b. 12 the tied f category imprint: Corrections & alterations; Source & stylistic information |