Issues : Accompaniment changes
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b. 10-11
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composition: Op. 28 No. 24, Prelude in D minor
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The crossings-out visible in A reveal an earlier version of the L.H. figures; in that version the 4th note of each of them was like the second and not the first. Analogous corrections are also visible in b. 55 and 70, which may mean that in the working notation of the Prelude, which Chopin used while writing A, the entire L.H. part was based on such figures, and the change to the final version was not marked at all or only signalised, e.g. at the beginning of the piece. The aforementioned corrections would therefore suggest that the composer temporarily lost his focus while modifying the figuration at the time of rewriting. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 10
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composition: Op. 63 No. 1, Mazurka in B major
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In an earlier version, written down in AI, the entire bar is based on a B major chord, while the thirds in the melody constitute a delay. The final version replaced the melodic tension with harmonic one by introducing a diminished four-note chord as the chord leading to B major. See also bar 78. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Accompaniment changes , Main-line changes |
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b. 11
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composition: Op. 27 No 2, Nocturne in D♭ major
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The deletions visible in A point to Chopin's corrections in the 2nd part of the bar. Most probably the composer altered the graphic layout of the semiquaver beam and changed the last note from f to a. category imprint: Corrections & alterations issues: Corrections in A , Accompaniment changes |
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b. 11-12
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composition: Op. 10 No 2, Etude in A minor
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In Ap the rhythmic values of the subsequent two-note chords in the lower voice of the R.H. constitute an alternating short-long (semiquaver-crotchet) scheme in these bars. Moreover, the contrast of the resounding's length is underlined with accents here and there. In the main text we give the homogeneous version of FE (→GE,EE), as far as the sound is concerned. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
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b. 11-12
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composition: Op. 25 No 2, Etude in F minor
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The written in AT broader positions of the L.H. were later changed by Chopin. Both in this place and in bar 8, the reason of the change was, however, probably the logic of leading the voices of the accompaniment. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
, Op. 27 No. 2, 
