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Issues : Main-line changes
b. 32
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composition: Op. 28 No. 17, Prelude in A♭ major
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In FCI d category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Main-line changes |
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b. 35
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composition: Op. 28 No. 17, Prelude in A♭ major
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In FCI the first 2 R.H. quavers, apart from the d category imprint: Corrections & alterations; Source & stylistic information issues: Main-line changes |
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b. 43
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composition: Op. 28 No. 17, Prelude in A♭ major
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In A one can see that Chopin initially wrote the mordent with a conventional In this place, FCI includes an earlier version – there are no ornaments on the 4th quaver in the bar, while b1 is linked with a tie to the dotted crotchet at the beginning of the bar. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Annotations in teaching copies , EE revisions , Errors in FE , Corrections in A , Errors resulting from corrections , Deletions in A , Annotations in FES , Main-line changes , Inaccuracies in A |
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b. 47
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composition: Op. 28 No. 17, Prelude in A♭ major
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At the beginning of the bar FCI includes a chord containing both the g category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Main-line changes |
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b. 47
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composition: Op. 28 No. 17, Prelude in A♭ major
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In FCI there are no ornaments before the 4th R.H. quaver. Moreover, from the 2nd quaver on, the R.H. part is written down using two-part notation – melody in the top voice, while dyads in the bottom one. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Main-line changes |