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impromptu-op29.ly
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%...+....1....+....2....+....3....+....4....+....5....+....6....+....7....+....
\version "2.24.0"
\language "english"
#(set-global-staff-size 18)
\header {
maintainer = "Knute Snortum"
maintainerEmail = "knute (at) snortum (dot) net"
source = "https://s9.imslp.org/files/imglnks/usimg/0/06/IMSLP842145-PMLP2262-Op29-manuscript.pdf" % MS
source = "https://s9.imslp.org/files/imglnks/usimg/c/c9/IMSLP399452-PMLP02262-BnF_btv1b52500459z.pdf" % SrcA
source = "https://vmirror.imslp.org/files/imglnks/usimg/b/b8/IMSLP447371-PMLP02262-Chopin_F_-_Impromptu_pour_le_pianoforte_op._29_(colour).pdf" % SrcB
source = "https://sm.multimatechopin.com/en/composition/1/annotation/transcription" % mUltimate
% Differences in the sources are discussed inline.
title = "Impromptu"
composer = "Frédéric Chopin"
opus = "Opus 29"
copyright = \markup {
\center-column {
"Copyright © 2023 Knute Snortum. This work is licensed under the"
\with-url #"https://creativecommons.org/licenses/by-sa/4.0/"
"Creative Commons Attribution-ShareAlike 4.0 International License."
}
}
}
%%% Scheme functions %%%
makeSpanner =
#(define-music-function (mrkup) (markup?)
#{
\override TextSpanner.bound-details.left.text = #mrkup
\override TextSpanner.bound-details.left.stencil-align-dir-y = 0
\override TextSpanner.bound-details.left-broken.text = ##f
#})
%%% Definitions
sd = \sustainOn
su = \sustainOff
staffUp = \change Staff = "upper"
staffDown = \change Staff = "lower"
textUnderSlur =
\once {
\override TextScript.avoid-slur = #'inside
\override TextScript.outside-staff-priority = ##f
}
%%% Positions
slurShapeA = \shape #'(
((0 . 0) (0 . 0) (0 . 2) (0 . 3.5))
((0 . 2.5) (0 . 2) (0 . 3) (0 . 4))
) \etc
slurShapeB = \shape #'(
((0 . 0) (0 . 0) (0 . 0) (0 . 0))
((0 . -1) (0 . 2) (0 . 0) (0 . 0))
((0 . 0) (0 . 1) (0 . 0) (0 . 0))
) \etc
slurShapeC = \shape #'((0 . 0) (0 . 0) (0 . 0) (0 . 1)) \etc
slurShapeD = \shape #'(
((0 . 0) (0 . 1.5) (0 . 1) (0 . 0))
((0 . 2) (0 . 2) (0 . 1) (0 . 0))
) \etc
slurShapeE = \shape #'((0 . 1) (0 . 1) (0 . 0) (0 . 0)) \etc
slurShapeF = \shape #'(
((0 . 0) (0 . 0) (0 . 2) (0 . 3.5))
((0 . 3) (0 . 2) (0 . 0) (0 . 0))
) \etc
slurShapeG = \shape #'(
((0 . 0) (0 . 0) (0 . 0) (0 . 0))
((0 . 0) (0 . 0) (0 . 0) (0 . 0))
((0 . 0) (0 . 1) (0 . 1) (0 . 0))
) \etc
slurShapeH = \shape #'((0 . 4) (0 . 3.5) (0 . 2) (0 . 0)) \etc
slurShapeI = \shape #'((0 . 4) (0 . 3.5) (0 . 2) (0 . 0)) \etc
slurShapeJ = \shape #'((0 . 0) (0 . 1) (0 . 2.5) (0 . 3)) \etc
moveTrillSpanA = \once \override TrillSpanner.extra-offset = #'(0.5 . 1)
moveTrillSpanB = \once \override TrillSpanner.extra-offset = #'(0 . 1)
moveTrillSpanC = \once \override TrillSpanner.extra-offset = #'(0 . 1)
moveTrillSpanD = \once \override TrillSpanner.extra-offset = #'(0 . 1)
moveTrillSpanE = \once \override TrillSpanner.extra-offset = #'(0 . 1)
moveTrillSpanF = \once \override TrillSpanner.extra-offset = #'(0 . 1)
extendArpeggioA = \once \override Staff.Arpeggio.positions = #'(-1 . 2)
extendArpeggioB = \once \override Staff.Arpeggio.positions = #'(0 . 5)
%%% Markup
legato = \markup \large \italic "legato"
pocoRitenuto = \markup \large \italic "poco ritenuto"
accellerSpanner = \makeSpanner \markup \large \italic \whiteout
\pad-markup #0.5 "accelerando"
smorzando = \markup \large \italic "smorzando"
fSostenuto = \markup \dynamic { f \normal-text \large \italic "sostenuto" }
ten = \markup \large \italic "ten."
leggier = \markup \large \italic "leggier"
mv = \markup \large \italic "m.v."
dolciss = \markup \large \italic "dolciss."
conForza = \markup \large \italic "con forza"
sotoVoce = \markup \large \italic "soto voce"
ritenuto = \markup \large \italic "ritenuto"
calandoSpanner = \makeSpanner \markup \large \italic "calando"
%%% Music
global = {
\time 4/4
\key af \major
\accidentalStyle piano
}
rightHandUpper = \relative {
\omit TupletBracket
\omit TupletNumber
s1 * 8 |
\barNumberCheck 9
s1 * 6
s4 \voiceOne ff''4-> ef-> eff-> |
df4-> eff-> df-> c-> |
\barNumberCheck 17
b4-> c-> cf-> bf-> |
s1 * 7 |
\barNumberCheck 25
s1 * 4 |
\tuplet 3/2 { s4 ef4*1/2 s4 ff4*1/2 s4 ef4*1/2 s4 ff4*1/2 } |
\tuplet 3/2 { s4 ef4*1/2 } s2. |
s4 \tuplet 3/2 { c8( df bf } ef4-> \tuplet 3/2 { c8 df bf } |
ef4-> \tuplet 3/2 { c8 df bf } ef4-> \tuplet 3/2 { c8 df bf) } |
\barNumberCheck 33
s1 * 8 |
\barNumberCheck 41
s1 * 8 |
\barNumberCheck 49
s1 * 4 |
\oneVoice
\undo \omit TupletNumber
\tuplet 3/2 2 { df4\prall( c d e f g } |
af1 |
\voiceOne g4 f af, bf |
c2) \oneVoice <c ef>( |
\barNumberCheck 57
\voiceOne \extendArpeggioA <c ef>2\arpeggio <bf df>4. <af c>8 |
\oneVoice \grace { c,8*1/2 c->[ ef af]~ } <af c>2) s |
s1 * 6 |
\barNumberCheck 65
s1 * 8 |
\barNumberCheck 73
s1 * 8 |
\barNumberCheck 81
s1 * 8 |
\barNumberCheck 89
s1 * 8 |
\barNumberCheck 97
\voiceOne s4 ff'-> ef-> eff-> |
df4-> eff-> df-> c-> |
% ScrA has accents here too, to match bar 17
b4-> c-> cf-> bf-> |
s1 * 5 |
\barNumberCheck 105
s1 * 6 |
\omit TupletNumber
\tuplet 3/2 { s4 ef4*1/2 s4 ff4*1/2 s4 ef4*1/2 s4 ff4*1/2 } |
\tuplet 3/2 { s4 ef4*1/2 } s2. |
\barNumberCheck 113
s4 \tuplet 3/2 { c8 df bf } ef4-> \tuplet 3/2 { c8 df bf } |
ef4-> \tuplet 3/2 { c8 df bf } ef4-> \tuplet 3/2 { c8 df bf } |
s1 * 2 |
s4 \tuplet 3/2 { c8 df bf } ef4-> \tuplet 3/2 { c8 df bf } |
ef4-> \tuplet 3/2 { c8 df bf } ef4-> \tuplet 3/2 { c8 df bf } |
}
rightHandLower = \relative {
\omit TupletBracket
\omit TupletNumber
\tuplet 3/2 { ef'8->[(\prall d ef c' bf af] g f' e } ef4) |
\tuplet 3/2 { ef,8->[(\prall d ef c' bf af] g f' e } ef4) |
\tuplet 3/2 {
% For the last note of measure 3, MS and SrcA have an E-natural, but SrcB
% has an E-flat. The E-flat is the more likely choice, the since previous
% E-natural in the measure serves as a chromatic neighbor, and the last
% note of measure has a more melodic function.
ef8(\prall d ef c' g bf af e g f c ef |
df8 f, g af c bf af f af g d f) |
}
\tuplet 3/2 { ef8->[(\prall d ef c' bf af] g f' e } ef4) |
\tuplet 3/2 { ef,8->[(\prall d ef c' bf af] g f' e } ef4) |
\tuplet 3/2 {
% For the third note of beat 3, MS and SrcA have D-flat (no accidental),
% but SrcB has a D-natural. It is likely that Chopin intended to add the
% natural sign, since the note makes more sense as a chromatic neighbor.
ef8(\prall d ef e f fs g g' d ef b c |
g8 bf af f c d ef bf b c cs d |
}
\barNumberCheck 9
\tuplet 3/2 { ef8 e f } gf4)~ \tuplet 3/2 { gf8 e( f } c'4)~ |
\tuplet 3/2 { c8 ef,( f \slashedGrace { af } gf f ef f c ef } df4->)~ |
\tuplet 3/2 { df8 c( df } ff4)~ \tuplet 3/2 { ff8 d( ef } bf'4~ |
\tuplet 3/2 { bf8 df, ef \slashedGrace { g8 } f ef df ef bf df } c4->)~ |
\tuplet 3/2 {
c8-\slurShapeA ( g af c bf af g bf c df f ef |
c8 g af c bf af g bf c df f ef |
c8 b c \voiceTwo ff8 bf, cf ef a, bf eff af, bff |
df8 g, af eff' af, bff df g, af c fs, g |
\barNumberCheck 17
% Third beat, missed an f-natural in the MS? f-natural penciled in
% in SrcA, in print in SrcB
b8 f fs c' fs, g cf f, gf bf e, f) |
}
\oneVoice \tuplet 3/2 { f8( g af bf c df } c4 bf) |
\tuplet 3/2 { ef,8->[(\prall d ef c' bf af] g f' e } ef4) |
\tuplet 3/2 { ef,8->[(\prall d ef c' bf af] a gf' e } f4) |
\tuplet 3/2 {
bf,8->[(\prall a bf af' fs g] c,->[\prall b c bf' g af]) |
d,8->-\slurShapeB ( ef f g af a bf c df d f ef |
\ottava 1 ef8 c'-> df,-1 bf'-> c,-1 af'-> bf,-1 g'-> af,-1
f'-> g,-1 e'-> |
c8-2 af'-> bf,-1 g'-> af,-1 f'-> \ottava 0 gf, ef'-> f, df'-> ef, c'-> |
\barNumberCheck 25
ef8 df f-4 df-2 c ef c-2 bf-1 df bf af-1 c |
af8 g bf g f af f ef g ef df f |
df8 c ef dff cf ff df c ef dff cf ff |
df8 c ef dff cf ff df c ef dff cf ff |
df8 c ef dff cf ff df c ef dff cf ff |
}
\tuplet 3/2 { df8 c ef dff cf e } \oneVoice f8^!) r\fermata <df, g>4->^( |
<c af'>8) r \voiceTwo g'4 \tuplet 3/2 { af8 ef af } g4 |
\tuplet 3/2 { af8 ef af } g4 \tuplet 3/2 { af8 ef af } g4 |
\barNumberCheck 33
\oneVoice \tuplet 3/2 { <af af'>8->( f' ef df c bf af f ef df c bf } |
\voiceThree \staffDown \tuplet 3/2 { af8 f ef df c bf) } af4-> r |
\staffUp \oneVoice c'2( f |
g2 af |
bf af4. bf8 |
c2) b->( |
c2 d4. ef8 |
c2 df-> |
\barNumberCheck 41
bf2 c4 \grace { ef } df-. |
bf2 af4. g8 |
c,2 f |
g2 af |
bf1*1/2 \magnifyMusic 0.63 { \stemUp s8*1/2 bf[ bf bf c bf af bf] }
\stemNeutral |
c2) d( |
e2 d4. c8 |
d2) g,2*1/4->-\slurShapeC ( \magnifyMusic 0.63 { \tuplet 13/3 {
% For the seventh note of this fioritura, MS and SrcA have an A-flat (no
% accidental), but SrcB has an A-natural. Also for the final note, MS and
% SrcA have a B-flat (no accidental), but SrcB has a B-natural. Given that
% two other A-naturals and one other B-natural exist in this figure, it is
% more likely that the natural sign was omitted by mistake for both notes.
\stemUp g8[ a g fs g b' a g f d e a, b] } } \stemNeutral |
\barNumberCheck 49
\textUnderSlur c1)~^\ten |
c2.. c8( |
df4-> c f g |
af2. c,4) |
s1 * 2 |
s2 \voiceTwo af~ |
af2 s |
\barNumberCheck 57
g2 s |
s2 \oneVoice r4 r8 c( |
df4-> c f g |
af2..) c,8( |
\undo \omit TupletNumber
\tuplet 13/8 { df8->\prall c c' b bf g e df c d e f g } |
af4) r \grace { g16-\slurShapeD ^([ a] } \afterGrace 7/8 { \moveTrillSpanA
a2->\startTrillSpan } { g16[\stopTrillSpan a] } |
\afterGrace 7/8 { \moveTrillSpanB bf2->\startTrillSpan }
% The intended final two notes of the trill might have been { a16 bf }
% instead of { af16 bf }. See commentary at mUltimate Chopin.
{ a16[\stopTrillSpan bf] }
\afterGrace 7/8 { \moveTrillSpanC b2->\startTrillSpan }
{ as16[\stopTrillSpan b] } |
c4-.) r df2->( |
\barNumberCheck 65
df,2 c |
f2) r4 c( |
df4->\prall c f g |
af2..) c,8( |
\omit TupletNumber
\tuplet 3/2 { df8 c d c ef c e c f c g' c, } |
af'2..) g8( |
\undo \omit TupletNumber
%% Resolving a difference between editions:
% For the 10th note of this tuplet, MS and SrcA have an F-sharp (no
% accidental), but SrcB has an F-natural. It is likely that the natural sign
% was intended, because the F-sharp earlier in the measure is a chromatic
% neighbor, but this F has a melodic function. Given that two other
% A-naturals and one other B-natural exist in this figure, it is more likely
% that the natural sign was omitted by mistake for both notes.
%
%% Correction:
% Change the 12th note of tuplet to E-flat instead of E-natural; the
% E-natural -> D-flat interval is a descending augmented second, which is
% unlikely in this context from a melodic perspective. Later editions and
% resources I have consulted (Paderewski 30th edition, and the mUltimate
% Chopin site) make this correction.
\tuplet 15/8 { g8 af g fs g bf af e g f c ef df f, g) } |
<af c>4 r <ef' c'>2-> |
\barNumberCheck 73
\tuplet 3/2 2 { <d b'>4-> <df bf'>-> <bf g'>-> <df f>-> <g, ef'> r8
<bf df> } |
\set tieWaitForNote = ##t
\grace { c,8*1/2 c[^(~ ef~ af_~]) } <c, ef af c>2..-> c'8( |
\tuplet 3/2 2 { df4->\trill c d e f g } |
af2.) r8 c,( |
\omit TupletNumber
% In MS and SrcA, the second note in beat 2 is D-flat, and the second note in
% beat 3 is E-flat. A natural sign was added for both notes in SrcB. The
% natural signs were a likely omission, given the context of the chromatic
% passage with octave chords and octave leaps, so follow SrcB.
\tuplet 3/2 { c'8 c, cs d d' <ef, ef'> e' e, f fs g g' } |
<af, af'>4) r \slashedGrace { a8-\slurShapeE ^( } \afterGrace 7/8 {
\moveTrillSpanD a2->\startTrillSpan } { gs16[\stopTrillSpan a] } |
\afterGrace 7/8 { \moveTrillSpanE bf2->\startTrillSpan }
% The intended final two notes of the trill might have been { a16 bf }
% instead of { af16 bf }. See commentary at mUltimate Chopin.
{ a16[\stopTrillSpan bf] }
\afterGrace 7/8 { \moveTrillSpanF b2->\startTrillSpan }
{ as16[\stopTrillSpan b] } |
\ottava 1 \slashedGrace { c8*1/128 } <c c'>4-!)\arpeggio r <df df'>2-> |
\barNumberCheck 81
% In MS and SrcA, the final E of this tuplet is an E-flat, but in SrcB it is
% an E-natural. It is likely that the natural sign was omitted by mistake,
% since all other E notes in this measure are E-naturals.
\tuplet 17/16 { c16->( c' b bf g e c b \ottava 0 bf g e c b bf g e df) } |
\afterGrace 7/8 c2->\startTrillSpan { b16[\stopTrillSpan c] }
\afterGrace 7/8 df4->\trill { c16[ df] }
\afterGrace 7/8 d4->\trill { cs16[ d] } |
\tuplet 3/2 { ef8->[(\prall d ef c' bf af] g f' e } ef4) |
\tuplet 3/2 { ef,8->[(\prall d ef c' bf af] g f' e } ef4) |
\tuplet 3/2 {
% The sources differ on whether the last note in the measure should be
% E-natural or E-flat. See inline comment for measure 3 for background.
ef8(\prall d ef c' g bf af e g f c ef |
df8 f, g af c bf af f af g d f) |
}
\tuplet 3/2 { ef8->[(\prall d ef c' bf af] g f' e } ef4) |
\tuplet 3/2 { ef,8->[(\prall d ef c' bf af] g f' e } ef4) |
\barNumberCheck 89
\tuplet 3/2 {
% The sources differ on whether the third note of beat 3 sure should be
% D-natural or D-flat. See inline comment for measure 7 for background.
ef8(\prall d ef e f fs g g' d ef b c |
g8 bf af f c d ef bf b c cs d |
}
\tuplet 3/2 { ef8 e f } gf4)~ \tuplet 3/2 { gf8( e f } c'4~ |
\tuplet 3/2 { c8 ef, f \slashedGrace { af } gf f ef f c ef } df4~ |
% First three eighth-notes, sources differ, below is MS, but doesn't follow
% the pattern. SrcA has df c df which is the phrase from the earlier
% passage, SrcB follows the MS
\tuplet 3/2 { df8 c df } ff4~ \tuplet 3/2 { ff8 d ef } bf'4~ |
\tuplet 3/2 { bf8 df, ef \slashedGrace { g } f ef df ef bf df } c4)~ |
\tuplet 3/2 {
c8-\slurShapeF ( g af c bf af g bf c df f ef |
c8 g af c bf af g bf c df f ef |
\barNumberCheck 97
\voiceTwo c8 b c ff bf, cf ef a, bf eff af, bff |
df8 g, af eff' af, bff df g, af c fs, g |
% third beat, missed f-natural in MS? fs in ScrA, f-natural in SrcB
b8 f fs c' fs, g cf f, gf bf e, f |
}
\oneVoice \tuplet 3/2 { f g af bf c df } c4 bf) |
\tuplet 3/2 { ef,8->[(\prall d ef c' bf af] g f' e } ef4) |
\tuplet 3/2 { ef,8->[(\prall d ef c' bf af] a gf' e } f4) |
\tuplet 3/2 {
bf,8->[(\prall a bf af' fs g]) c,->[(\prall b c bf' g af]) |
d,->-\slurShapeG ( ef f g af a bf c df d f ef |
\barNumberCheck 105
\ottava 1 ef c'-> df, bf'-> c, af'-> bf, g'-> af, f'-> g, e'-> |
% third beat, e-natural penciled in on MS, ef implicit in SrcA, explicit
% in SrcB. ef follows the patern from an ealier passge.
c8 af'-> bf, g'-> af, f'-> \ottava 0 gf, ef'-> f, df'-> ef, c'-> |
ef8 df f df c ef c bf df bf af c |
af8 g bf g f af f ef g ef df f |
df8 c ef dff cf ff df c ef dff cf ff |
df8 c ef dff cf ff df c ef dff cf ff |
\voiceTwo df8 c ef dff cf ff df c ef dff cf ff |
}
\tuplet 3/2 { df c ef dff cf e } f8) \oneVoice r\fermata <df, g>4->^( |
\barNumberCheck 113
<c af'>8) r \voiceTwo g'4-\slurShapeH ^( \tuplet 3/2 { af8 ef af } g4 |
\tuplet 3/2 { af8 ef af } g4 \tuplet 3/2 { af8 ef af } g4 |
\oneVoice <af af'>8-.) r <c, e g>4^( <c f af> <df g bf> |
<c af' c>4 <c e g> <c f af> <df g bf> |
<c af' c>8-!) r \voiceTwo g'4-\slurShapeI ^( \tuplet 3/2 { af8 ef af } g4 |
\tuplet 3/2 { af8 ef af } g4 \tuplet 3/2 { af8 ef af } g4 |
\oneVoice <af ef' c'>8-.)\arpeggio r <c, e g>4^( <c f af> <df g bf> |
<c af' c>4 <c e g> <c f af> <df g bf> |
\barNumberCheck 121
<c af' c>8-.) r r4 r2 |
r4 <c e g>-.^( <c f af>-. <df g bf>-. |
<c af' c>4-.) r r2 |
r2 <c f af>4-.^( <df g bf>-. |
<c af' c>4-.) r r2 |
q2-.^( q-. |
q1-^)\fermata |
\bar "|."
}
rightHand = <<
\global
\override Staff.Script.avoid-slur = #'inside
\override Staff.Fingering.avoid-slur = #'inside
\override Staff.TrillSpanner.avoid-slur = #'inside
\override Staff.TrillSpanner.outside-staff-priority = ##f
\set Score.tempoHideNote = ##t
\tempo "Allegro assai quasi presto" 4 = 144
\new Voice \rightHandUpper
\new Voice \rightHandLower
>>
leftHandUpper = \relative {
\omit TupletBracket
\omit TupletNumber
\voiceThree
s1 * 3 |
s2 ef |
s1 * 3 |
s2. bf'4 |
\barNumberCheck 9
c4 bf a bf |
a4 f bf af |
g4 af g f |
ff4 ef af, e' |
f4 bf, ef g |
af4 f ef g |
af4 af g gf |
f4 gf f e |
\barNumberCheck 17
ds4 e ef d |
s1 * 7 |
\barNumberCheck 25
s1 * 2 |
s4 d ef d |
ef4 d ef d |
ef4 d ef d |
s1 * 3 |
\barNumberCheck 33
s1 * 8 |
\barNumberCheck 41
s1 * 8 |
\barNumberCheck 49
% In SrcA, beat 3 contains a single note, F. In SrcB, the beat contains a
% chord containing the C below that F (<C F>). In MS, one could argue for the
% presence or absence of the C; if it's present, the note is barely visible,
% due to the thickness of the stem and ledger line at that point. Because
% this voice umambiguously has a chord on beats 1 and 3 in the following
% measure, and this measure has similar figuration, follow SrcB (and
% debatably MS) in this case.
<c' e>4 c, <c' f> c, |
% The first chord of the measure was likely intended to be <c d> instead of
% <c df>. See commentary at mUltimate Chopin.
<c' d>4 c, <c' f> c, |
s1 |
af'4( c <af f'> c) |
<g bf>4( c <bf e> c) |
af4( c <af f'> c) |
s1 * 2 |
\barNumberCheck 57
s1 * 3 |
af4( c <af f'> c) |
<g bf>4( c <bf e> c |
<af f'>4 c) <a gf'>( c) |
s1 * 2 |
\barNumberCheck 65
s1 |
af4( c <af f'> c) |
<g bf>4( c <bf e> c) |
af4( c <af f'> c) |
<g bf>4( c <bf e> c) |
af4( c <af f'> c) |
s1 * 2 |
\barNumberCheck 73
s1 * 3 |
af4 c <af f'> c |
<g bf>4( c <bf e> c |
<af f'>4 c) \extendArpeggioB <a gf'>(\arpeggio c) |
s1 * 2 |
\barNumberCheck 81
s1 * 5 |
s2 ef, |
s1 * 2 |
\barNumberCheck 89
s1 |
s2. bf'4 |
c4 bf a bf |
a4 f bf af |
g4 af g f |
ff4 ef af, e' |
f4 bf, ef g |
af4 f ef g |
\barNumberCheck 97
af4 af g gf |
f4 gf f e |
ds4 e ef d |
s1 * 5 |
\barNumberCheck 105
s1 * 6
ef4 d ef d |
}
leftHandLower = \relative {
\omit TupletBracket
\omit TupletNumber
\tuplet 3/2 {
af,8 c' ef, d c' ef, bf df' ef, d df' ef, |
af,8 c' ef, d c' ef, bf df' ef, d df' ef, |
c8 ef' af, c, e' af, df, f' bf, af f' bf, |
df,8 df' bf f df' bf \voiceFour ef, df' bf g df'! bf |
\oneVoice af,8 c' ef, d c' ef, bf df' ef, d df' ef, |
af,8 c' ef, d c' ef, bf df' ef, d df' ef, |
cf8 ef' a, fs ef' a, bf, ef' bf g ef' bf |
bf,8 d' bf af d bf ef, g' ef \voiceFour bf g' ef |
\barNumberCheck 9
c8 gf' ef bf gf' ef a, f' ef bf gf' ef |
a,8 f' ef f, f' c bf f' df af ff' bf, |
g8 ef' bf af ff' cf g ef' bf f d' af |
ff8 df' af ef df' g, af, c' af e c' af |
f8 c' af bf, d' af ef ef' bf g ef' bf |
af8 ef' c f, d' bf ef, ef' bf g ef' bf |
af8 ef' c af ff' cf g ef' bf gf eff' bff |
% last eight-note, gf in MS, g in SrcA, gf in SrcB, g in mUltilmate
f8 df' af gf eff' bff f df' af e c' g |
\barNumberCheck 17
ds8 b' fs e c' g ef cf' gf d bf' f |
\oneVoice df8 bf' f bf, df' f, ef c' af ef df' g, |
af,8 c' ef, d c' ef, bf df' ef, d df' ef, |
af,8 c' ef, d c' ef, c ef' a, f ef' a, |
d,8-> f' bf, ef,-> g' bf, e,-> g' c, f,-> af' c, |
\clef treble g8-> df'' g, ef df' g, bf, df' g, ef df' g, |
af,8-> c' af ef c' af \clef bass c,,-> e' c bf e c |
f,8-> f' c af f' c a, c' gf ef c' gf |
\barNumberCheck 25
bf,8-> df' f, c-> ef' a, df,-> f' bf, af f' bf, |
df, f' bf, af f' bf, df, f' bf, af f' bf, |
ef,8 ef' af, \voiceFour d, ff' af, ef ef' af, d, ff' af, |
ef8 ef' af, d, ff' af, ef ef' af, d, ff' af, |
ef8 ef' af, d, ff' af, ef ef' af, d, ff' af, |
}
\tuplet 3/2 { \oneVoice ef8 ef' af, d, e' af, } f'8 r\fermata <ef, bf'>4 |
\tuplet 3/2 {
af,8 c' ef, d df' ef, af, c' ef, d df' ef, |
af,8 c' ef, d df' ef, af, c' ef, d df' ef, |
}
\barNumberCheck 33
<af, ef' c'>4\arpeggio r r2 |
\voiceFour r2 r4 g-> |
\oneVoice r4 f-.( <c' af'> f,-. |
<c' e bf'>4 c,-. <c' f af> f,-.) |
r4 ef-.( <ef'g df'> ef,-. |
<ef' af c> af,-. <g' d' f> g,-.) |
r4 c-.( <g' b f'> g,-. |
<g' ef'>4 c,-. <f a ef'> f,-.) |
\barNumberCheck 41
r4 bf-.( <f' a ef'> f,-. |
<f' bf df>4 bf,-. <e bf' c> c-.) |
r4 f,-.( <c' af'> f,-. |
<c' e bf'>4 c,-. <c' f af> f,-.) |
r4 ef-.( <ef' g df'> ef,-. |
<ef' af c>4) af,-. <f' b d>( gs,-. |
<e' b' d>4 gs,-. <e' a c> a,-. |
% Much agonizing over the first-beat chord, does it have a df or d?
% The MS says it's a df, but this makes an horribly dissonant chord. The
% two other sources agree that it is a df, SrcA has an a natural pinceled in.
% SrcB has an a-natural in print. This still makes a very dissonant chord.
<f' a d>4 f,-.) <g' b f'>-\slurShapeJ ( g,-. |
\barNumberCheck 49
\voiceFour g'2 af |
f2 af) |
\oneVoice c,,4( c'' <g bf e> c) |
\voiceFour f,1 |
f1 |
f1 |
\oneVoice df,4-. bf''( <af f'> bf) |
ef,,4-. ef'( <c' af'> ef,) |
\barNumberCheck 57
ef,4-. ef'( <df' g> ef,) |
af,,4-. ef''( <c af' c> ef) |
% third beat, MS has an ef, but this seems like a missed natural. One
% source has the natural peciled in, another has it in print.
c,4-. c''( <g bf e> c) |
\voiceFour f,1 |
f1~ |
f2 ef |
% In MS and SrcB, the lowest chord note on beat 3 is a D-flat, but in SrcA it
% is a D-natural (no accidental). It was likely an oversight in SrcA to not
% add the flat sign, so follow MS and SrcB.
\oneVoice <d f f'>4( bf') <df, af' f'>( b') |
% The notes on beats 3 and 4 were likely intended to be { A-flat, F } instead
% of { C, A-flat }. See commentary at mUltimate Chopin.
<c, af' f'>4->( c' c' af) |
\barNumberCheck 65
c,,,4-.( c'' <g bf e> c) |
\voiceFour f,1 |
f1 |
f1 |
f1 |
f1 |
\oneVoice df,4-. bf''( <af f'> bf) |
ef,,4-. ef'( <c' af'> ef,) |
\barNumberCheck 73
ef,4-. ef'( <bf' ef> ef,) |
af,,4-. ef''( <c af' c> ef) |
c,4-. c''( <bf e> c) |
\voiceFour f,1 |
f1 |
f2 ef |
\oneVoice <d f f'>4(\arpeggio bf') < df, af' f'>(\arpeggio b') |
<c, af' f'>4\arpeggio c' af' f |
\barNumberCheck 81
<c, g' bf e>4\arpeggio r r2 |
R1 |
\tuplet 3/2 {
af8 c' ef, d c' ef, bf df' ef, d df' ef, |
af,8 c' ef, d c' ef, bf df' ef, d df' ef, |
c8 ef' af, c, e' af, df, f' bf, af f' bf, |
df,8 df' bf f df' bf \voiceFour ef, df' bf g df'! bf |
af,8 c' ef, d c' ef, bf df' ef, d df' ef, |
af,8 c' ef, d c' ef, bf df' ef, d df' ef, |
\barNumberCheck 89
cf8 ef' a, fs ef' a, bf, ef' bf g ef' bf |
bf,8 d' bf af d bf ef, g' ef \voiceFour bf g' ef |
c8 gf' ef bf gf' ef a, f' ef bf gf' ef |
a,8 f' ef f, f' c bf f' df af ff' bf, |
g8 ef' bf af ff' cf g ef' bf f d' af |
ff8 df' af ef df' g, af, c' af e c' af |
f8 c' af bf, d' af ef ef' bf g ef' bf |
af8 ef' c f, d' bf ef, ef' bf g ef' bf |
\barNumberCheck 97
af8 ef' c af ff' cf g ef' bf gf eff' bff |
%% Correction:
% Change the last note of the measure to G-natural, aligning with the
% G-natural in the right hand. None of the listed source editions add the
% natural sign, but it is a near certainty that this was an oversight,
% given the repeated figurations that weave up and down chromatically in
% the preceding beats. Interestingly, mUltimate Chopin describes its
% addition of a natural sign here as "cautionary", but because G-flat
% appears earlier in the measure, probably more accurate to label it as an
% oversight (missing accidental).
f8 df' af gf eff' bff f df' af e c' g |
ds8 b' fs e c' g ef cf' gf d bf' f |
df8 bf' f bf, df' f, ef c' af ef df' g, |
af,8 c' ef, d c' ef, bf df' ef, d df' ef, |
af,8 c' ef, d c' ef, c ef' a, f ef' a, |
d,-> f' bf, ef,-> g' bf, e,-> g' c, f,-> af' c, |
\clef treble g-> df'' g, ef df' g, bf, df' g, ef df' g, |
\barNumberCheck 105
af,8-> c' af ef c' af \clef bass c,,-> e' c bf e c |
f,8-> f' c af f' c a,-> c' gf ef c' gf |
bf,8-> df' f, c-> ef' a, df,-> f' bf, af f' bf, |
df,8 f' bf, af f' bf, df, f' bf, af f' bf, |
ef, ef' af, d, ff' af, ef ef' af, d, ff' af, |
ef ef' af, d, ff' af, ef ef' af, d, ff' af, |
ef ef' af, d, ff'^> af, ef ef' af, d, ff'^> af, |
}
\tuplet 3/2 { ef ef' af, d, e' af, } \oneVoice f'8 r\fermata <ef, bf'>4 |
\barNumberCheck 113
\tuplet 3/2 { af,8 c' ef, d df' ef, af, c' ef, d df' ef, } |
\tuplet 3/2 { af,8 c' ef, d df' ef, af, c' ef, d df' ef, } |
\oneVoice <af, ef' c'>8\arpeggio r c4 <f, f'> <ef ef'> |
<af, af'>4 <c c'> <f f'> <ef ef'> |
<af,af'>8 r \tuplet 3/2 { af'8 df' ef, af, c' ef, d df' ef, } |
\tuplet 3/2 { af,8 c' ef, d df' ef, af, c' ef, d df' ef, } |
<af, ef' c'>8\arpeggio r c4 <f, f'> <ef ef'> |
<af, af'>4 <c c'> <f f'> <ef ef'> |
\barNumberCheck 121
<af, af'>8 r r4 r2 |
r4 <c c'> <f f'> <ef ef'> |
<af, af'>4 r r2 |
r2 <f' f'>4 <ef ef'> |
<af, af'>4 r r2 |
<af' ef'>2 q |
q1 |
}
leftHand = <<
\clef bass
\global
\mergeDifferentlyHeadedOn
\new Voice \leftHandUpper
\new Voice \leftHandLower
>>
dynamics = {
\override TextScript.Y-offset = -0.5
\tag layout { s4^\legato } \tag midi { s4\mp } s4..\< s16\! s4 |
s4 s4..\< s16\! s4 |
s4 s2\> s4\! |
s1 |
s4 s4..\< s16\! s4 |
s4 s4..\< s16\! s4 |
s2\< s8. s16\! s4 |
s4\> s8. s16\! s4 s\< |
\barNumberCheck 9
s8. s16\! s4 s\< s\! |
s4\> s8. s16\! s2 |
s4\< s\! s\< s\! |
s2\> s8. s16\! s4 |
s2 s4\< s8. s16\! |
s4\> s8. s16\! s4\< s8. s16\! |
s4 s2\> s8. s16\! |
s1 |
\barNumberCheck 17
s1 |
s2\< s\! |
s4 s4..\< s16\! s4 |
s4 s4..\< s16\! s4 |
s1\cresc |
s2... s16\! |
s1\f |
s2 s^\pocoRitenuto |
\barNumberCheck 25
s2\> s8 \accellerSpanner s\startTextSpan s4 |
s2... s16\!\stopTextSpan |
s1 |
s1\p |
s4 s8 s^\smorzando s2
s1 |
s4 s2.\p |
s1 |
\barNumberCheck 33
s1\f |
s1 |
\tag layout { s2.^\fSostenuto s4\< | }
\tag midi { s1\f\< }
s2... s16\! |
s1 * 4 |
\barNumberCheck 41
s1 |
s4 s2\> s8 s\! |
s4 s2.\< |
s2... s16\! |
s1 |
s2 s-\tweak X-offset -1.5 ^\ritenuto |
s1 \p |
s1 |
\barNumberCheck 49
s1 * 2 |
s2..\f\< s8\! |
s1 |
s2..\p\< s8\! |
s1 * 2 |
s2 s\> |
\barNumberCheck 57
s2... s16\! |
s2.. s8\f |
s1\< |
s8 s2.\! s8\p |
s1^\leggier |
s2 s\f\cresc |
s1 |
s2 s\ff |
\barNumberCheck 65
s1 |
s2. s4-\tweak X-offset -1 ^\mv |
s2...\< s16\! |
s1 |
s4\p s2\< s8. s16\! |
s1 |
s1^\dolciss
s2 s-\tweak X-offset -2 ^\conForza |
\barNumberCheck 73
s1 |
s2.. s8-\tweak X-offset -2.5 ^\mv |
s4 s2\< s8 s\! |
s1 |
s2...\f\< s16\! |
s2. s4\cresc |
s1 |
s2... s16\! |
\barNumberCheck 81
s1 |
\afterGrace s2 { s8\< } s4... s32\! |
s4 s4..\< s16\! s4 |
s4 s4..\< s16\! s4 |
s4 s2.\> |
s2. s4\! |
s1 * 2 |
\barNumberCheck 89
s2\< s\! |
s1 * 5 |
s2 s4..\< s16\! |
s8.\> s16\! s4 s4..\< s16\! |
\barNumberCheck 97
s4 s2\> s8. s16\! |
s4 s2\> s8. s16\! |
s4 s2\> s8. s16\! |
s4\< s8. s16\! s2 |
s4 s2\< s4\! |
s4 s2\< s4\! |
s1\cresc |
s2... s16\! |
\barNumberCheck 105
s1\f |
s2 s^\pocoRitenuto |
s2\> \accellerSpanner s\startTextSpan |
s2... s16\!\stopTextSpan |
s1\p |
s1 |
s2 s^\smorzando |
s1 |
\barNumberCheck 113
s4 s2.\p |
s1 |
s4 s2.^\sotoVoce |
s1 |
s4 s2.\pp |
s1 |
s4 s2.^\sotoVoce |
s1 |
\barNumberCheck 121
s1 |
s4 \calandoSpanner s2.\startTextSpan |
s1 * 2 |
s4\stopTextSpan s2. |
}
pedal = {
s4\sd s\su s\sd s\su |
s4\sd s\su s\sd s\su |
s4\sd s\su\sd s\su\sd s8. s16\su |
s1 * 3 |
s2\sd s4..\su\sd s16\su |
s2\sd s8.\su\sd s16\su s4 |
\barNumberCheck 9
s1 * 3 |
s2 s8.\sd s16\su s4 |
s4 s8.\sd s16\su s2 |
s1 * 3 |
\barNumberCheck 17
s1 * 4
s4\sd s\su\sd s\su\sd s8.\su\sd s16\su |
s2...\sd s16\su |
s2\sd s4..\su\sd s16\su |
s2\sd s4..\su\sd s16\su |
\barNumberCheck 25
s4\sd s\su\sd s2\su\sd |
s2... s16\su |
s4 s8.\sd s16\su s4 s8.\sd s16\su |
s4 s8.\sd s16\su s4 s8.\sd s16\su |
s4 s8.\sd s16\su s4 s8.\sd s16\su |
s4 s8.\sd s16\su s2 |
s1 * 2 |
\barNumberCheck 33
s1 * 2 |
s4 s2\sd s8. s16\su |
s4\sd s8. s16\su s2 |
s4 s2\sd s8. s16\su |
s2 s4..\sd s16\su |
s2 s4..\sd s16\su |
s2 s4..\sd s16\su |
\barNumberCheck 41
s2 s4..\sd s16\su |
s2 s4..\sd s16\su |
s2 s4..\sd s16\su |
s4..\sd s16\su s2 |
s2 s4..\sd s16\su |
s2 s4..\sd s16\su |
s2\sd s4..\su\sd s16\su |
s2\sd s4...\su\sd s32\su |
\barNumberCheck 49
s4..\sd s16\su s2 |
s1 |
s2...\sd s16\su |
s1 * 2 |
s2...\sd s16\su |
s2...\sd s16\su |
s2...\sd s16\su |
\barNumberCheck 57
s2...\sd s16\su |
s2...\sd s16\su |
s2...\sd s16\su |
s2...\sd s16\su |
s1 |
s2 s4..\sd s16\su |
s2\sd s4..\su\sd s16\su |
s2...\sd s16\su |
\barNumberCheck 65
s2...\sd s16\su |
s2...\sd s16\su |
s1 * 4 |
s2...\sd s16\su |
s2...\sd s16\su |
\barNumberCheck 73
s2...\sd s16\su |
s2...\sd s16\su |
s1 * 3 |
s2 s4..\sd s16\su |
s2\sd s4..\su\sd s16\su |
s2...\sd s16\su |
\barNumberCheck 81
s2....\sd s32\su |
s2\sd s4\su\sd s8..\su\sd s32\su |
s1 * 6 |
\barNumberCheck 89
s1 * 5 |
s2 s8.\sd s16\su s4 |
s4 s8.\sd s16\su s2 |
s1 |
\barNumberCheck 97
s1 * 8 |
\barNumberCheck 105
s2\sd s4..\su\sd s16\su |
s2\sd s4..\su\sd s16\su |
s4\sd s\su\sd s2\su\sd |
s2... s16\su |
s4 s8.\sd s16\su s4 s8.\sd s16\su |