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Issues : Main-line changes
b. 8
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composition: Op. 2, Variation IV, primitive version
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In the 1st half of the bar (2. volta) the principal AsI version (written first, with normal-sized notes) refers to the principal version of bars 1-2 and 5-6 – the hemidemisemiquaver group does not move in parallel with the melody semiquavers. Nevertheless, this version is compatible (in an acceptable way) with both versions of the 2nd half of bar 7, hence these places can be treated independently. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Main-line changes |
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b. 9
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composition: Op. 2, Variations, complete
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The version with the quaver b category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 10-11
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composition: Op. 28 No. 4, Prelude in E minor
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The version of As, replaced then by the final edition of those motifs, resulted from corrections itself. Their traces in the form of crossings-out are almost invisible on the available photograph; however, a comparison with similarly looking corrections in b. 18-19 suggests that in both places Chopin began with similar ideas and then changed them in a similar manner. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Main-line changes , Fontana's revisions |
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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. 10
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composition: Op. 2, Variations, complete
category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |