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b. 4-11
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composition: Op. 63 No. 2, Mazurka in F minor
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Moving basses in similar contexts an octave lower (and sometimes replacing them with octaves) is one of the most frequent changes introduced by Chopin while refining already shaped, yet not completely ready musical ideas. See also bar 11. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Bass register changes |
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b. 4
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composition: Op. 2, Variation IV, primitive version
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This bar belongs to one of the few places in which Chopin, while working on this variation, changed the shape of the melody formed by the R.H. topmost notes (see also bars 11 and 24). The interpretation of the AsI notation presents some difficulties, since it is uncertain whether the 3 grace notes, which could have been added later, were supposed to complement the figuration or whether they were an original way to mark the change of concept of the topmost notes to the final version. The latter is supported by analogous bar 20, in which AsI includes the final version entered without hesitation. In either case, the notation of these grace notes is puzzling, since each is provided with a different form: a semiquaver, a slashed quaver, a quaver, respectively. Perhaps Chopin wanted to try out different forms of notation to see which one would suit him best. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Terzverschreibung error , Errors in the number of ledger lines , Accompaniment changes , Main-line changes |
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b. 4
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composition: Op. 2, Variation IV, primitive version
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While writing AsI, Chopin committed 2 rhythmic mistakes – the third bass F is a quaver, and not a semiquaver, while the 4th R.H. hemidemisemiquaver group was initially written with five beams, hence in twice as short rhythmic values. The latter was subsequently corrected by combining the two topmost beams into one. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Rhythmic errors |
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b. 4
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composition: Op. 2, Variation IV, primitive version
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In the main text we add a cautionary category imprint: Editorial revisions; Source & stylistic information issues: Cautionary accidentals |
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b. 4
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composition: Op. 2, Variation IV, primitive version
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Chopin was gradually reaching the satisfying pitch of the three topmost notes in the 2nd and 4th L.H. figures. In this bar, both AsI figures differ from the A version, but in analogous bar 20 it is only the 4th figure that is different, and the 2nd figure is identical in both manuscripts. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
4, d4, c4 in 
to e
