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Issues : Annotations in FEJ
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b. 16-18
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composition: Op. 28 No. 6, Prelude in B minor
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In the ending of the phrase, starting from the last semiquaver in b. 16, FEJ and FES present completely different fingering versions. The only point in common, the 5th finger on D in b. 17, allows us to consider the fingering used before and after independently – e.g. the 1st finger can be used only just on A, as it is done in FES, but end with the 3rd finger on F category imprint: Differences between sources; Editorial revisions issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ |
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b. 18-20
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composition: Op. 28 No. 6, Prelude in B minor
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Similarly to analog. b. 15, the fingering versions of FEJ and FES differ in the performing manner of the e crotchet in b. 19. For the remaining notes (until c category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ |
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b. 20-21
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composition: Op. 28 No. 6, Prelude in B minor
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As was the case with b. 16-17, FEJ and FES indicate the pass of the 1st finger in a different place. However, both copies are in agreement about the F category imprint: Differences between sources issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ |
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b. 22-23
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composition: Op. 28 No. 6, Prelude in B minor
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As in previous similar figures, in FES – differently than in FEJ – finger swaps were indicated on one key (the opposite situation is to be found only in b. 18). category imprint: Differences between sources; Editorial revisions issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ |
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b. 22-23
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composition: Op. 28 No. 6, Prelude in B minor
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A mark annotated on FES is probably meant to cancel the tie to B1. The repetition of B1 is also possibly suggested by the fingering written into FEJ – the fifth finger in sequence under B1 in bar 22, and B1 and B in bar 23. The repeated B1 in bar 23 may be seen as advantageous in view of the rhythm of the basic motif and the original pedalling. Taking this into account we suggest a variant version in the main text – a tie in parantheses. category imprint: Graphic ambiguousness; Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ |
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