Issues : Accompaniment changes
|
b. 16-17
|
composition: Op. 28 No. 3, Prelude in G major
..
We consider the tie of b1 in FCI to be the initial version, just like the remaining elements that distinguish this copy from the version prepared for print – cf., e.g. b. 7-10 or 24. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
|||||
|
b. 18
|
composition: Op. 28 No. 3, Prelude in G major
..
FCI does not contain any of the arpeggios present in the remaining sources (cf. b. 24 and 32-33); therefore, Chopin most probably added them only just in the last stage of editing the Prelude. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
|||||
|
b. 22
|
composition: Op. 28 No. 3, Prelude in G major
..
The version of FCI, in which the subdominant nature of the C major chord is signalized – by the f category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
|||||
|
b. 24
|
composition: Op. 28 No. 3, Prelude in G major
..
The a note cannot be held throughout the entire bar due to the L.H. part. The fact that it was not included in FCI undoubtedly proves that the notation of this manuscript was less detailed and most probably earlier. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
|||||
|
b. 25
|
composition: Op. 28 No. 3, Prelude in G major
..
In FCI c1 and d1 are dotted minims. It is probably an earlier version, although we cannot rule out an erroneous unification of the chord's rhythmic values by the copyist. See b. 16-25. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
in 
