Shorthand & other
|
b. 1
|
composition: Op. 28 No. 9, Prelude in E major
..
The Prelude in E is the only piece by Chopin in which the R.H. part is written entirely in the bass clef on the top stave*. It is noteworthy that the composer opted for such a notation probably only just when writing A, which is evidenced by a bass clef added after the treble one and by the 1st R.H. chord, written and crossed out on the bottom stave. Therefore, one can assume that in the initial notation of the Prelude the entire R.H. part (perhaps without the topmost notes) was written on the bottom stave, in accordance with the Chopinesque common modus operandi – cf., e.g. Prelude in E * In general, Chopin carefully avoided introducing the bass clef on the upper staff. There are only a few examples of such notation, e.g. Variations in B category imprint: Corrections & alterations; Source & stylistic information issues: Deletions in A |
|
|
b. 9-11
|
composition: Op. 28 No. 9, Prelude in E major
..
From the last beat of b. 9 to the middle of b. 11, the L.H. octaves are written in A in an abridged manner, with 8. However, Chopin explicitly requested that the abbreviation not be used in print by writing the following note at the bottom of the page in A: "Il faudrait graver en notes les 8ves marquées dans la basse par 8." [One should engrave with notes the 8ves marked in the bass with 8]. Chopin had a hard time choosing the right wording for that note, which can be seen on the basis of the crossings-out and additions, which evidence that it was being gradually specified. category imprint: Differences between sources; Source & stylistic information issues: Abbreviated octaves' notation |
Minor, No. 14 or Scherzo in C
Minor, Op. 39, b.