NOTATIO

Along with all that, I have never seen instrument and vocal labels aligned on the left side so the longer ones force the shorter ones very far from the left barlines. Common sense seems to be in short supply these days.

To answer Ere's great question: I think that it may be because Chopin thought of the the second half of m. 45 along with the whole of m. 48 as providing the basic framework (shown at * in the accompanying example) within which the intervening diminished seventh passing chords work, and therefore tha...

Measures 45-48 of the first French edition of Chopin's Etude op. 10 no.10 use the spelling of the composer's manuscript: Chopin Etud eop 10 no 10 FFE.jpg The Paderewski edition, as shown in a re-engraving, respells the notes marked with * so that the chords will read as conventional "diminished...

Here are two cases of unusual spelling from Chopin's Etude op. 10 no. 9: At * in the example, Chopin uses a C :f instead of the usual B :n for the chromatic neighboring tone because he wants to emphasize the sense of a single hypnotic tonic harmony throughout the first 16 measures of the piece, and ...

That is an error in the first German edition, erelievonen. Thanks for pointing it out. They left out the sharp. All of the other primary sources including Chopin's manuscript sketch have the G sharp as well as the later Mikuli, Oxford, Wiener Urtext, Paderewski and the New Polish National critical e...

The first German Edition of Chopin's Etude op 10. no. 4: Chopin op 10 no 4 FGE.jpg In Chopin's manuscript sketch, the three places marked * and ** match in spelling: F :ss -G :s -F :ss -E. Only the place marked *** is spelled G -A :f -G -E. This is supremely logical because the places marked * and *...

Thanks, OCTO! David, such a special situation might require a footnote in the score. With or without the footnote, however, I would write ad lib. and non ad lib. later. Rubato doesn't seem quite right to me, since I think of a rubato as being used more for exact expressive reasons that remain relati...

I believe this stems from the gramophone and the concept of one perfect ideal performance enshrined for all eternity--as the first composers to push this view (Stravinsky) were from exactly the same period. I consider this view to be the kiss of death for art, since it converts human beings into ro...

That might be too precise as it was more a waywardness of the moment that I had in mind. Then ad lib. instead of rubato ? I still think that what you have written implies precision of a kind that you don't intend, however. Thank you very much for pointing out any errors that strike you. I'm afraid ...

I agree. 32nd-notes don't look "Slow and easy". A few accel.'s and rit's., feathered beaming, small notes, and/or more complex tuplets would help the player know more clearly what you want.

"Easy" should not be capitalized.