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Issues : Accompaniment changes

b. 10-11

composition: Op. 29, Impromptu in A♭ major

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In A one can see corrections of the last quaver in L.H. in bar 10 and the 3rd quaver in bar 11. In both places Chopin changed d1 into b.

category imprint: Corrections & alterations

issues: Deletions in A , Accompaniment changes

b. 10

composition: Op. 24 No. 4, Mazurka in B♭ minor

 
 
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category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Accompaniment changes , Authentic post-publication changes and variants

b. 10-11

composition: WN 17, Polonaise in B♭ major

JC, literal reading

JC, interpretation

EF

PE, interpretation
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In the main text we give the undoubtedly later version of the accompaniment written – with minor inaccuracies – in PE. The new shape of the accompaniment in this version was provided with slurs and the indication legato, probably by Chopin. The text of EF is a more precise notation of the earlier version, written in a partially draft form also in JC. In that last manuscript, it is three additional notes that draw attention; their meaning and relation to the remaining part of the notation is ambiguous. It could be, e.g., a draft of a new version of the bass line in this bar developed by Chopin.  

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Accompaniment changes , Inaccuracies in PE

b. 10-14

composition: Op. 10 No 2, Etude in A minor

Triad & third/fifth in CLI

Triads in Ap & FE (→GE,EE)
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The third on the 3rd beat in bar 10 in CLI was probably meant to be a fifth in the original version (Terzverschreibung). In the sources Chopin's hesitation concerning the placement of the cautionary  before c1 is also reflected.

category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations

issues: EE revisions , GE revisions , Accompaniment changes , Authentic corrections of FE , Errors of CLI

b. 10

composition: Op. 64 No 2, Waltz in C♯ minor

c in As & AI

f in A (→FE→GE,EE)
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The version of AI, most probably written also in As, was then abandoned still before writing A. Among the hypothetical reasons of the change one can name:

  • avoiding oblique tones of c1-c and c-c2;
  • diversifying the harmonic progression – semi-tone transitions appear both two bars earlier and two bars later.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes