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b. 28-32
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In bars 28 and 32 of A, the category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 29
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composition: Op. 24 No. 3, Mazurka in A♭ major
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It is hard to regard the mark in A as In bar 29 all the first editions have a staccato dot instead of a wedge. In our main text we rely on AI (→A). The same applies to bars 5 and 9. category imprint: Interpretations within context; Differences between sources issues: Wedges |
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b. 29
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In bar 29 of A the slur notation is not very clear, but the traces of extending the slur by Chopin in A, and also the notation in AI, point to the first note of the triplet as the intended starting point for the slur, as presented in GE2. GE1 (→FE→EE) have the slur starting earlier. Similar differences appear in bar 33. category imprint: Differences between sources |
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b. 29-33
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composition: Op. 24 No. 3, Mazurka in A♭ major
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A has long accents below the triplets on the 2nd beat in bars 29 & 33. In GE1 (→FE→EE) accents were placed over the R.H. part (a shorter sign in EE certainly reflects an inaccurate accent in FE). In GE2 the notation of A was reinstated, which we also accept as our main text. In AI bars 29 & 33 are notated as a repetition of bars 5 & 9, which have category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in GE , EE inaccuracies |
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b. 29
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In bars 29 and 33 in AI and GE1 (FE→EE), the asterisk mark category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE |
is placed before the third crotchet of the L.H., yet this positioning is not reliable due to the lack of logic in graphical depicting of musical time in the notation of the left and the right hand. Therefore, the revisions made in 
in 
in 
