Issues : Dotted rhythms and triplets
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b. 89
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composition: Op. 27 No 1, Nocturne in C# minor
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We align the semiquaver on the 2nd beat of bar 89 with the last quaver of the L.H. sextuplet although in this particular context an exception to the general rule could be admitted. Only a discovery of additional sources—e.g. [A] or an annotated copy—could assist in establishing Chopin's intention more firmly. category imprint: Interpretations within context issues: GE revisions , Dotted rhythms and triplets |
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b. 89-97
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composition: Op. 27 No 1, Nocturne in C# minor
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In bars 89, 91-95 & 97 GE (→FE→EE) moved the semiquaver in category imprint: Interpretations within context issues: GE revisions , Dotted rhythms and triplets |
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b. 104-108
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composition: Op. 2, Variations, complete
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The notation of FE, with the demisemiquaver going beyond the 3rd note of the semiquaver triplet (in b. 104 and 106-108), is contrary to the Chopinesque understanding of this kind of combination of a dotted rhythm with a triplet – see the note on b. 45-46. category imprint: Differences between sources issues: Dotted rhythms and triplets , FE revisions |
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b. 110-122
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composition: Op. 2, Variations, complete
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The notation of FE, with the demisemiquaver going beyond the 3rd note of the semiquaver triplet (in b. 110, 120 and 122), is contrary to the Chopinesque understanding of this kind of combination of a dotted rhythm with a triplet – see the note on b. 45-46. category imprint: Differences between sources issues: Dotted rhythms and triplets , FE revisions |
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b. 123-126
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composition: Op. 2, Variations, complete
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The notation of FE, with the demisemiquaver going beyond the 3rd note of the semiquaver triplet (in b. 123, 124 and 126), is contrary to the Chopinesque understanding of this kind of combination of a dotted rhythm with a triplet – see the note to b. 45-46. category imprint: Differences between sources issues: Dotted rhythms and triplets , FE revisions |
beyond the 3rd note of the triplet in the accompaniment, contrary to Chopin's understanding of that figure.
