Issues : Corrections in A
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b. 1
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In A (→GE→FE→EE) Chopin changed the R.H. rhythm in comparison to the AI version. Scrapings visible in A show that Chopin considered even a double dotted rhythm: the last d category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Chopin's hesitations |
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b. 1
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composition: Op. 24 No. 2, Mazurka in C major
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At the beginning of the bar in A one can see a deleted category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Cautionary accidentals |
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b. 1
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composition: Op. 24 No. 2, Mazurka in C major
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A deleted category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 1
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composition: Op. 10 No 5, Etude in G♭ major
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In A there are visible traces of the time signature's change: from category imprint: Corrections & alterations issues: Changes of metre , Corrections in A |
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b. 1-5
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composition: Op. 10 No 7, Etude in C major
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In A one can see that the penultimate semiquaver in bars 1 and 5 was initially d1-f1. category imprint: Corrections & alterations issues: Corrections in A |
2 was written as a semiquaver following a crotchet with two dots.
before e1. The need to put that sign could, in our opinion, result from the uninterrupted transition in writing - perhaps also performing - from the Mazurka in G minor to the Mazurka in C major.
can be seen at the beginning of the Mazurka in 
to 2/4. This may mean that there was a working notation of the Etude in two-time longer rhythmic values (cf. bars 4-12 and 8).