The following errata are from Dr. Jeffrey L.

Trasters article
Robert Kurka: The Good Soldier Schweik Suite Comments and
Corrections, published in the 1987 Summer College Band Directors
National Association Report. This list is considerably more substantial
than the list in Mr. Topolewskis Errata Studies for the Wind Band
Conductor, Volume III, and they are collectively more definitive in
correction as well. However, as with Mr. Topolewskis book, several of
the errata corrections are inaccurate, and, furthermore, some
corrections suggested that apply to multiple instruments are only listed
as corrections for a single instrument.
One final issue was reconciling this list alongside Mr. Topolewskis
list. There are several instances where corrections made in Mr. Trasters
list directly contradict those of Mr. Topolewskis list. Instead of going to
great lengths in noting each contradictory occurrence, I have instead
chosen to simply correct the errors in both respective lists.
Inaccurate corrections are marked with asterisks, (**), and any
personal suggestions or missing information is noted in italics
beginning with a hyphen ( - ).
Traster:
The following section lists corrections to be made in the parts. Each
movement is designated by Roman numerals; specific measures are
referenced by rehearsal numbers shown in brackets. Pitch names are
always in capitals and represent written pitches for the instrument.
Dynamics are written in lower case letters. Accents are always of this
type: (>).
Instrument
Piccolo

Flute

Mvt
.

Measure

II
II

4 after [1]
5 and 6 after [1]

III

1 before [8]

IV

4 and 2 before [1]

bar 2

VI

5, 6, 7, and 8
after [8]

I
I

3 after [4]
4 before [5]

Correction
delete tie into next bar
bt. 1: change sf to fsf
add tie from previous
measure
add accents to all notes
-bt 1: change half rest to
whole rest
-bt 7: add accent
add staccato marks to the
first two eighth notes of
each measure
bt. 1: change D# up to F#
add tie into next bar

I
I

6 after [5]
3 after [7]

5 and 6 after [8]

5 after [9]

7 before End

II

5 and 6 after [1]

II

II

at [4]

III

7 after [1]

III
III

6 after [4]
1 before [10]
at [4] and
following four
measures

IV
IV

3 after [4]

IV

6, 7, and 8 after
[5]

IV

8 after [5]

IV

4 before [6]

IV

3 before [7]

bar 2

VI

5 after [3]

VI

5 after [4]

VI

1 before [6]

VI

4 before [10]

bt. 2: change D up to E
& of bt. 1: add accent
change slur to cover first 3
notes
change pp from bt. 1 to bt.
2
bt. 4: delete staccato
-delete tie across bar line
-change sf to fsf
Rehearsal [3] occurs 6
measures to soon. There
are eight measures
between [2] and [3].
(Weintraubs latest set of
parts has two 3s; the
second is correct.)
bt. 1: add accent
bt. 1: change half note to
dotted half
add rehearsal number [5]
bt .4: add f
Cl. cues in Bb
Tie whole note into next
bar (cue)
add tenuto markings to
each note
phrase marking should end
on & of bt. 1, and the next
begin on bt. 2
& of bt.3 and bt. 4: change
rhythm, placing eighth note
on & of bt. 3, and quarter
note on bt. 4; notes remain
tied
add accents to each note
bt. 1: change half rest to
whole rest
change CLAR. to BASS.
CLAR.
bt. 1: add accent
bt. 4: reverse order of
eighth note/eighth rest.
change slur to begin on

second sixteenth note

Oboe

I
I
I

5 before [6]
1 before [6]
4 after [8]

III

2 before [1]

III

3 and 2 before [2]

III
III

2 after [3]
2 before [9]:

III

1, 2, and 3 before
[12]

IV
IV

2 after [2]
at [5]

IV

1 before [7]

VI

2 before [2]

VI

1 before [3]

VI

4 before [7]

VI
VI
English
Horn

at [8] and
continuing 8 bars
3 and 2 before
[11]

6, 7, and 8 after
[7]

II

3 after [3]

III

2 after [3]

III

at [4]

III

at [5]

III

4 after [10]

III
III
IV

3, 4, and 5 after
[11]
4 before [13]
(5 and) 6 after

bt. 1: add p
bt. 4: add staccato mark
bt. 3: change E down to Eb
change 3 measure rest
down to 2
add slurs between each
grace note and its principal
note.
bt. 1: add f
tie E into next bar
add slurs between each
grace note and its principal
note.
bt. 1: add accent
bt. 4: add f
& of bt. 1 and bt. 2: change
B down to G.
Cl./Tpt. cue: tie last note
into next bar
add phrase marking over
entire bar
change bssn. to Contra
bssn.
change all Fs to F#s.
& of bt. 1: change E to Eb.
change slurs to cover entire
bar, as in previous
measure.
add accents to all eighth
notes
bt. 1: add f
change Fl./bssn. marking to
Cl.
add bssn. cue marking
add slurs from grace notes
to primary notes
add slurs from grace notes
to primary notes
bt. 4: add a quarter rest
bt .4: delete accent on tied

beginning

Clarinet

IV

6 before [6]

6 after [1]

VI

1 before [3]

VI

3 after [4]

VI

1 before [6]

VI

Last bar

I
I
I
II

3 after [4]
3 before [5]
3 after [9]
at [3]

II

2 after [5]

III

2 after [3]
3, 2, and 1 before
[12]

III

Bass
Clarinet

IV

9 after [5]

IV

Last bar

VI

3 after [7]

VI

3 after [11] and

next 4 bars

4 after [1]

at [2]

I
II
VI
VI

3 before [5]
beginning
5 after [4]
3 after [7]

eighth note
extend slur across barline
to B
-bt. 3: notes should read E
D C# F
-bt. 4: add turn to first note
(E)
-change last note (B) down
to A
-delete tie from bt. 3 to bt.
4
-add accent to bt. 4.
& of bt. 3: change E to Eb
-delete tie from bt. 3 to bt.
4
-add accent to bt. 4.
change f to ff
bt. 4: change D down to C#
bt. 1: change E up to F#
bt. 3: add tenuto mark
add accents to all notes
-label English Horn cues
-change D# up to E
-change C# up to D#
bt. 1: add f
add slurs between all grace
and principal notes.
-bt. 2: delete dot on half
note
-bt. 4: add quarter rest
bt. 1: delete accent
bt. 1: change staccato
mark to an accent
bt. 3: change slur to cover
three notes, not four
bt. 1: change staccato to
an accent.
change last note (D) down
to A
change E up to F#
add time signature (6/8)
bt. 1: add accent
bt. 1: change staccato to

Bassoon

Contrabass
oon

VI

7 and 8 after [8]

VI

6 and 7 after [10]

4 after [12]

II

5 and 6 after [1]

II

1 before [3]

II
III

at [5]
last bar

IV

3 after [2]

bar 2

4 after [13]

II

1 before [2]

bar 2

VI
VI

1 and 2 before [6]

8 after [6]

VI

9 after [6]

I
I
I

at [6]
3 before [8]
3 after [9]

at [11]

at [12]

II

delete slur from bt. 4

across bar line
in each bar, add accents to
first 3 eighth notes and
staccato marks to the last 3
eighth notes
bts. 4, 5, and 6: change
dim. to cresc.
change D to D#
bt. 1: add pp
Picc./Fl. cues: bt. 4: change
F to F#
bt. 1: change half rest to
whole rest
Rehearsal number [4]
occurs one bar too late
**change last note (E) to Eb

Horn I

accent
change C# to C
Cl. cues: change bt. 3 (B) to
Bb;
change bt. 4 (F) to F#

-change last note (G) to Gb

bt. 4: add tenuto mark
bt. 1: change half rest to
whole rest
Rehearsal number [4]
occurs two bars too early
bts. 3 and 4: add accents
bt. 1: change mp to p
tie last note (A) across bar
line
bts. 2, 3 and 4: add rests
bt. 1: delete accent
change p to sfp
Picc./Fl. cues
mistransposed; change
notes to A#-B-A#-B
bt. 1 and bt. 4: change F to
F#
add Rehearsal number [5]

Horn II

II

2 before [5] and

following

III

at [1]

III

1 before [12] and

following

IV

3 after [1]

IV

3 after [3]

IV

1 before [6]

bars 1 and 2

1 before [4]

4 after [4]

VI

at [2]

VI

3 after [7]

VI

9 after [11]

I
I

4 after [3]
1 before [8]

II

2 before [3]

II

1 before [5] and

following

III

2 after [7]

III

2 after [8]

10 bars after [4].

add stopped marking to
each note
change cued instrument
indication from Trpt. to Fl.,
Ob., Cl.
bt. 4: delete staccato
move natural to begin on
bt. 1
bt. 1: add open
& of bt. 4: change D up to
F,
add f
change tenuto marks to
accents
bt. 1: change half rest to
whole rest
bt. 5: change half note to
dotted half note
Picc. cues: tie bt. 4 into
next bar
**bt. 3: change A to A#
-The part is correct; the
score should be change to
show A natural, not A# to
allow a straightforward 5 to
1 descent in A major.
bt. 1: delete accent
& of bt. 4: add accent
bt. 1: add eighth rest
-change tie to a dotted half.
(meaning turn the whole
measure in to a dotted
half)
-tie the dotted half into
next bar
add stopped marking to
each note
& of bt. 1: change Fb down
to Db
& of bt. 1: change Fb down
to Db

Horn III

IV
IV

3 after [3]
1 before [6]

1 and 2 before [3]

VI

at [2]

I
I

1 before [3]
4 before [9]

II

Trumpet I

II

4 and 3 before [2]

II
II
II
III
IV

1 before [2]
at [2]
3 after [2]
9 after [10]
3 and 4 after [1]

IV

4 before [2]

IV
V

4 after [2]
2 before [2]

3 after [2]

VI

at [2]

VI

2 before [3]

VI
VI
VI

4 before End
3 before End
last bar

3 after [7]

add open
& of bt. 4: add f
change all tenuto marks to
accents
tie last note into next bar
(referring to piccolo cue)
& of bt. 4: add eighth rest
bt. 4: add eighth rest
Rehearsal number [2] is
two bars too early
-bt. 1: add fsf
-bt. 4: add p
bt. 4: add stopped
add open
bt. 1: add pp
add Rehearsal number [11]
delete tenuto marks
add accents to last two
notes
delete f
bt. 5: add quarter rest
bt. 3: change grace note F
down to D
Picc. cues: tie last note
across bar line.
add rests to bar, like 4
before [3]
& of bt. 2: change A to A#
bt. 1: add accent
bt. 1: add accent
**-add slur from F# to F
**-bt.3: delete accent
-Both parts indicate
accents of both F# and F,
as does the piccolo part in
the score. The appropriate
correction is, therefore, to
correct the score to reflect
the part. Perhaps most
importantly, correcting the
trumpet part in the score
makes this deployment of

Trumpet II

5 after [7]

III

bar 6

III
III

6 after [1]
1 before [2]

III

4 after [12]

III

5 after [12]

IV
IV
IV
IV

bar 5
bar 6
5 after [7]
last bar

beginning

1 before [4]

VI

at [1]

VI
VI

at [5]
2 before [9]

VI

3 before [10]

9 after [4]

4 after [6]

3 after [7]

I
II
III
III
III
III

1 before [10]
at [4]
6 after [1]
at [9]
at [10]
4 after [10]

III

1 before [11]

the Schweik theme match

the trombone statement
occurring 4 before [7].
& of bt. 1: change to an
accent
add slurs from grace to
principal notes
delete picc.
add open
change eighth note E# to a
sixteenth note
change half rest to quarter
rest
bt. 1: add accent
bt. 2: add accent
add accents to all notes
bt. 1: delete accent
add key signature (3 #s, f#
minor) to each line
bt. 1: change half rest to
whole rest
add accents to first three
notes.
change fl. to picc.
bt. 1: add accent
add accents to first three
notes
-bt. 1: change Fl. to Ob.
-bt. 3: change Ob. to Picc.
bt. 4: change G up to A
**-add slur from F# to F
**-bt.3: delete accent
-refer to Trumpet I
correction at the same
measure.
tie bt. 4 into next bar
add A# to key signature
delete picc.
change Horns to Tpt. I
add Horns
bt. 4: delete staccato mark
add slurs between grace
and primary notes

Trombone

III

4 after [12]

IV

4 after [4]

VI

bar 4

VI

5 after [8]

VI

2 before [9]

VI

2 and 5 after [9]

I
I

5 after [9]
5 after [11]
2, 4, and 6 after
[3]

II

double dot the first note

change quarter note to
eighth note/eighth rest
-delete slur over first three
notes
-& of bt. 2: add accent
add tenuto marks to each
note
bt. 1: add accent
-delete slur over first three
notes
-& of bt. 2: add accent
bts. 2, 3, and 4: add rests
delete senza sord.
delete last sixteenth rest
bt. 4: change F up to G

III
III

1 before [11]

IV

6 before the End

IV

5 before the End

VI

5 after [2]

VI

Snare Drum

7 after [1]

3 before [3]
(same as 5 after
[2])

VI

4 after [3]

VI
VI
VI

at [5]
3 after [5]
4 after [5]

2 before [4]

-referring to Fl./Ob./Cl. cue

add slurs between grace
and primary notes
add key signature (one
sharp)
-in the original score, the
key signature was left of
of the final staf of the
movement.
bt. 2: change Fb to F
add articulations under
slur: tenuto on & of bt. 3;
accent on bt. 4
change alto clef to tenor
clef
bts. 3 and 4: change
articulation to match
previous bar
change Fl. to Picc.
change Fl. to Picc.
bt. 3: change F to F#
**bt. 4: add eighth rest
-add eighth rest to the & of

I
I

1 before [5]
4 after [8]

3 before the End

III
III
IV
IV

1 before [6]
2 after [6]
in the new 2 after
[6]
4 after [5]
5 after [6]

IV

2 before the End

VI

1 before [2]

VI
VI

at [6]
4 after [6]

VI

9 after [6]

VI
VI
VI

3 after [11]
8 and 9 after [11]
10 after [11]

I
III
IV
V

2 after [7]
1 before [1]
4 after [5]
2 before [2]

1 before [2]

2 after [2]

III

Timpani

VI
VI
VI
VI

3 before [1]
3 before [2]
3 after [9]

VI

8 after [11]

VI
VI

8 and 9 after [11]

2 before the End

bt. 4
& of bt. 4: add f
bt. 4: add quarter rest
bt. 2: change two sixteenth
notes to two eighth notes
change Ob. to Fl.
delete entire bar
-& of bt. 3: add picc.
-bt. 4: change Eb to E
bt. 1: add accent
& of bt. 4: add eighth rest
bts. 1 and 3: change two
eight notes to four
sixteenth notes
bt. 3: change two eighth
notes to four sixteenth
notes
bt. 1: add mp
delete entire bar
change three bars rest to
two
& of bt. 4: add eighth rest
bts. 1 and 3: add accents
bt. 1: add accent
Tpt. cues are in Bb
move p to bt. 4
bt. 1: add an accent
change dim. to cresc.
bt. 1: change to eighth
notes (G) up to D
bt. 6: change quarter note
to dotted quarter note
NOTE: this movement does
not require five timpani;
at [6] change G to A;
4 after [7] change A to G
& of bt. 2: add eighth rest
add an accent to each beat
bt. 4: change C up to Eb
bt. 4: change eighths to
sixteenths
bts. 1 & 3: add accents
bt. 1: change f to f

The following section lists corrections to be made in the score. They

are presented in chronological order.
Mv
t

Measure

at [1]

Instrument/Li
ne in original
score
Timpani

5 after [1]

Bassoons

3 after [2]

Horns I & II

2 before [4]

Horns

I
I
I

4 after [4]
3 before [5]
1 before [5]

1 before [5]

I
I
I
I

5 before [6]
1 before [6]
4 after [6]
2 before [8]

Bassoon
Clarinet
Oboe
Clarinet
(and bass
clarinet)
Clarinet
Bassoons
Trumpet II
Bassoons

2 before [8]

Horns II/III

1 before [8]

Timpani

I
I

at [8]
2 after [8]

Bassoons
English Horn

Correction
& of bt. 4: add f
C. Bssn on top note; Bssn.
on bottom note
add Hn. II only
Hns. I and II double top
note; Hn. III plays lower
note;
next bar is correct as
written
bt. 4: change D down to B
bt. 1: change E up to F#
tie bt. 4 across bar line
tie bt. 4 across bar line
change p to mp
bt. 4: add staccato marks
bt. 4: change G up to A
add whole rest to bar
bts. 2, 3, and 4: change G
down an octave to G;
Horn II plays C;
Horn III plays G
bt. 4: change quarter rest
to pitch A (A2); add accent
& of bt. 4: add accent
bts. 1 and 3: add sf

I
I
I

4 before [9]
4 before [9]
4 before [9]

1 before [9]

I
I

3 after [9]
4 after [9]

3 and 4 after [9]

I
I
I
I

4
3
3
1

before
before
before
before

[10]
[10]
[10]
[10]

Clarinet
Bass Clarinet
Trumpet I
Trumpet II
(both
trumpets)
Clarinet
Clarinet
Trumpets I & II,
Trombone
English Horn
Horn III
Trumpets I & II
Trumpets I & II

at [10]

Trumpets I & II

2 before [11]

3 before [12]

Timpant
Horns I, II, & III,
Trumpets I & II,
Trombone

bt. 3: change D to D#
& of bt. 4: change D to D#
& of bt. 2: change C to C#
bts. 2, 3, and 4: add rests
bt. 3: add tenuto mark
bt. 2: add tenuto mark
add tenuto mark to each
note except downbeat
eighth note
bt. 1: add tenuto mark
bt. 2: add mp
bt. 3: add mp
delete dim.
add dim. beginning bt. 1
and lasting 4 beats
bt. 1: add mp
bt. 1: add accent
**bt. 1: change F down to
E
- The originally printed F is correct.

at [12]

Bassoon

6 after [13]

Contrabassoon

II

4 after [1]

Bass Clarinet

II

4 and 5 after [1]

II

5 after [1]

Piccolo and
Flute
Bassoon and
Contrabassoon

The prevailing harmony is anchored

by the sustaining Horns and English
Horn, (open 5th on concert E), that
combines with the Clarinets and
Bassoon to form E (implied
dominant 7), flat 9, thereby making
the downbeat F in the bassoon a
chord member. This flat 9 is then
reiterated by the clarinet on the &
of bt. 2. This harmonic tension is
paired with a dynamic tension to
increase its efectiveness as well.

Part left out of score; add

notes F-A-G in thirds above
the bassoon with the same
rhythm
add two eighth rests at the
end of the bar
delete tie connecting
these bars
bt. 1: change G to G#

II

5 after [1]

Horns I, II, and

III

II

5 after [1]

Horn II and III

II
II
II
II

2 before [2]
2 before [2]
1 before [2]
at [2]

Horn I
Horn II
Horns I and II
Horn II

II

2 after [2]

Bassoon and
Contrabassoon

II

4 before [3]

Clarinet

II

4 before [3]

Bass Clarinet

II

1 before [3]

Bass Clarinet

II

1 before [3]

Horn III

II

1 before [4]

Trumpet I

II

at [5]

II

at [5]

II

2 after [5]

III

3 before [2]

Oboe

III

3 and 2 before [2]

Flute, Oboe,
and Clarinet

III

1 before [2]

III

2 and 1 before [3]

Bassoon and
Contrabassoon
Horn III
Horns I, II, and
III

III

2 after [3]

III
III

2 before [5]
at [7]

Horn III
Horn III,
Trumpets I & II,
Trombone
Flute, Oboe,
English Horn,
Clarinet
Oboe
Trumpet II

III

2 after [7]

Horns I and II

III

4 after [7]

Piccolo

bt. 1: add fsf

bt. 4: add p and stopped
add tie (slur) between the
notes
bt. 4: delete p
bt. 1: add open
bt. 1: delete f
bt. 1: add open
bt. 4: add accent;
contrabassoon plays top
note, bassoon plays
bottom note
add tie from previous bar
and into next bar
add tie to first beat (F#)
from previous bar
change dim. to cresc. on
beats 4, 5 and 6
add dotted quarter rest to
complete measure
bts. 2, 3, and 4: add
accents
bt. 2: change D to D#
bt. 1: add stopped
Horn I plays top note; Horn
II only plays bottom note
bt. 3: add grace note C#
before beat
add slurs between all
grace notes and primary
notes
add open
add dim. through both
bars
bt. 1: add f
bt. 3: add mp
bt. 4: add a quarter rest
add accents to the first
five eighth notes in the bar
add accents to all three

Clarinet and
Bass Clarinet

III

5 after [7]

III

6 after [7]

III

1 before [8]

Clarinet and
Bass Clarinet
English Horn

III

2 after [8]

Horns I and II

III

3 after [8]

III

1 before [9]

III

1 before [10]

Flute and Oboe

Trumpets I and
II
Trumpet I

III

at [10]

Oboe

III

and [10] and

continuing
through 3 after
[12]

Horn III

III

between [10] and

[12]

III

4 after [10]

Trumpets I and
II

III

1 before [11]

Horn III

III
III

at [11]
3 before [12]

III

2 before [13]

III

at [13]

Horns I and II
Snare Drum
Trumpets I and
II
Trumpets I and
II

IV

3 after [1]

Horns I, II, and

III

IV

3 after [1]

Horn I

IV

2 before [2]

IV

3 after [2]

IV
IV

4 after [2]
3 after [3]

Trumpets I and
II
Piccolo and
Flute
Bass Clarinet
Horns I, II, and

notes
bts. 3 and 4: Clarinet has
down-stems; bass clarinet
up-stems
bt. 3: omit stem
connecting octave Cs
add a2
bt. 1: change G up to B
add accents to the first
five eighth notes in the bar
tie E into the next bar
bt. 4: add 1.
bt. 4: add a quarter rest
& of bt. 4: change G down
to C
add staccato marks to all
notes
add slurs between all
grace and primary notes in
all parts
add senza sord.
bt. 3: add quarter note Bb
in the staff
add whole rests
bts. 1 and 3: add accents
add a2
add 1.
bt. 1: add open
bt. 4: delete extra eighth
rest
bt. 3: add quarter rest
bt. 4: change F to F#
bt. 1: delete accent
add open

III
IV

2 after [4]

Trumpet II

IV

4 after [4]

Clarinet

IV

5 after [4]

Clarinet

IV

8 after [5]

Flute

IV

2 before [6]

IV

1 before [6]

Contrabassoon
Horns I, II, and
III

IV

at [6]

Clarinet and
Bass Clarinet

IV

2 after [7]

Trombone

IV

3 after [7]

IV

3 before the End

IV

3 before the End

bar 2

3 after [2]

1 before [4]

2 after [4]

English Horn

3 after [4]

Trumpet II

V
V

3 before the End

2 before the End

last bar

VI

bars 4 and 7

Trumpets I and
II
Horns I, II, and
III
Trumpets I and
II
Piccolo, Flute,
and Bassoon
Piccolo and
Flute
Horns I, II, and
III

Bass Clarinet
Clarinet
Piccolo and
Flute
Trumpets I and

change slur to cover only

F# to F; add accent to F#
slur only last three notes
of bar together, not across
bar line
bt. 1: add accent
change phrase marks to
agree with Oboe (English
Horn)
bt. 1: add f
& of bt. 4: add f
add ledger lines to the & of
each beat to make each
pitch C
bt. 3: change quarter rest
to E below-the-staff eighth
note and eighth rest
add accent to all notes in
bar
add open
add accents to all notes
change half rest to whole
rest
bt. 1: change quarter note
to dotted quarter note
add open
& of bt. 3: change D up to
E
add appropriate rests after
half note to fill the bar
-specifically, add quarter
rest to bt. 3.
tie half note into next bar
bt. 3: add mp
add a2
change slur to cover only

II
Clarinet
Bassoon and
Contrabassoon
Horns I, II, and
III
Horns I, II, and
III

VI

bar 5

VI

2 after [2]

VI

2 and 4 before [3]

VI

at [3]

VI

6 after [3]

Horn III

VI

3 after [4]

English Horn

VI

6 after [5]
(7 after [5])

Trumpets I and
II

VI

2 and 1 before [6]

Bassoon and
Contrabassoon
(and clarinet)

VI

1 before [6]

English Horn

VI

2 after [7]

Flute and Oboe

VI

3 after [7]

Horn I

VI

3 and 4 after [7]

Trumpet II

VI

2 before [8]

Contrabassoon

VI

at [8]

VI

2 and 5 after [9]

Contrabassoon
Trumpets I and
II

VI

3 before [10]

Trumpet I

VI

3 before the End

Flute and
Piccolo

F# to F; add accent to F#
bt. 1: add f
add C. Bssn. only
add rests to fill the bar
after eighth note on bt. 2
bt. 1: add open
change treble clef to bass
clef
& of bt. 3: change E to Eb
add slur to cover last three
notes;
& of bt. 3: add tenuto
mark under slur;
bt. 4: add accent under
slur
bts. 3 and 4: add accents
to all notes
delete tie from bt. 3 to bt.
4;
bt. 4: add accent
bt. 3: add staccato mark
bt. 3: change A# to A
-similar incorrect
adjustment made by Mr.
Topolewski. The #
indication in score on beat
3 half note should be
removed, providing a 5 to
1 descent in A major.
add slur covering both
bars
bts. 1 and 3: add tenuto
marks
change pp to p
change slur to cover only
F# to F; add accent to F#
add accents to first three
notes
bt. 1: add accent