



Rhythm
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b. 54-57
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composition: Op. 10 No 3, Etude in E major
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In AI the layout of beams in the part of the R.H. does not reflect the structure of the motifs to such an extent as in A. The corrections in this scope visible in AI in bar 57 prove that the final concept crystalised at the time of writing this bar. category imprint: Source & stylistic information |
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b. 55-56
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composition: Op. 10 No 3, Etude in E major
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Lack of the tie of f category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 55-57
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composition: Op. 10 No 3, Etude in E major
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In the editions the c and B quavers in bars 55-56 are not linked, yet provided with stems. Similarly to g at the end of bar 57 in GE. See also bars 54-57. category imprint: Differences between sources issues: GE revisions , FE revisions |
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b. 58-60
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composition: Op. 10 No 3, Etude in E major
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In A, all g-f
In FE (→EE) last two separated notes have separate stems instead of a quaver beam. The notation of GE is similarly inaccurate, yet it is only f category imprint: Differences between sources issues: Errors in FE , Errors in GE , GE revisions |
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b. 60-61
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composition: Op. 10 No 3, Etude in E major
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The fact of rejecting the two-part notation is an example of Chopin's striving for simplicity and economy of the notation, so characteristic for him. At the beginning of bar 60 in FE (→GE,EE), there is no stem combining f category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in FE |
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