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Issues : Corrections in A
b. 5
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composition: Op. 28 No. 15, Prelude in D♭ major
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In A the penultimate quaver in the bar was initially a d category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 8
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composition: Op. 28 No. 15, Prelude in D♭ major
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The crossing-out visible in A reveals that the 1st quaver in the 2nd half of the bar was initially d category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 10-11
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composition: Op. 28 No. 15, Prelude in D♭ major
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In A one can see that the first two quavers in b. 11 were crossed out; they were initially f2-d category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors of A , Deletions in A |
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b. 11-17
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composition: Op. 28 No. 15, Prelude in D♭ major
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In A one can see that Chopin was reducing the range of the accompanying figures in b. 11 and 17. In particular, he moved the bass note in the 2nd half of b. 11 an octave higher: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 13-14
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composition: Op. 28 No. 15, Prelude in D♭ major
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In A the form of the 2nd half of b. 13 and of the 1st half of b. 14 was initially as follows: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |