Pitch
|
b. 1
|
composition: Op. 28 No. 4, Prelude in E minor
..
In As one can see that the upbeat was added later. category imprint: Corrections & alterations; Source & stylistic information issues: Main-line changes , Changed phrase length |
|||||||||
|
b. 3
|
composition: Op. 28 No. 4, Prelude in E minor
..
One can see traces of changing the pitch of the bottom note in the last pair of chords in As. On the basis of the photocopy at our disposal, however, it seems impossible to determine whether f was changed to e or the other way round. We assume that Chopin changed his mind only once and that it is the text of As after corrections that is compliant with the final version. category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
|||||||||
|
b. 4
|
composition: Op. 28 No. 4, Prelude in E minor
..
In As the category imprint: Graphic ambiguousness; Source & stylistic information issues: Accidental below/above the note |
|||||||||
|
b. 10-11
|
composition: Op. 28 No. 4, Prelude in E minor
..
The version of As, replaced then by the final edition of those motifs, resulted from corrections itself. Their traces in the form of crossings-out are almost invisible on the available photograph; however, a comparison with similarly looking corrections in b. 18-19 suggests that in both places Chopin began with similar ideas and then changed them in a similar manner. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Main-line changes , Fontana's revisions |
|||||||||
|
b. 11
|
composition: Op. 28 No. 4, Prelude in E minor
..
The fact that the chord was not changed in the middle of the bar must be a mistake of the engraver of GE. category imprint: Differences between sources issues: Errors in GE |
is placed at the pitch of e, and not g, which must be an inaccuracy, which can happen even in the most carefully finished autographs, e.g. in the Etude in E
Minor, Op. 10 No. 6, 
-a in