mUltimate Chopin

Text Compare Notes Sources Description

Issues : Dotted or even rhythm

b. 32

composition: Op. 25 No 7, Etude in C♯ minor

Even quavers, no ties in GC (→GE)

Even quavers, ties in EE

Dotted rhythm, ties in FE

FE in simplified rhythmic notation
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Same as in bar 30, the version of FE, being a result of Chopin proofreading (introducing the dotted rhythm in the top voice and sustaining b1 already from the 5th quaver of the bar), is given by us in the main text in a modified form. The simplified rhythmic notation, in accordance with Chopin's habits concerning this issue, according to us, significantly increases the text's legibility.

The missing ties sustaining the e1-g1 third in GC (→GE) are almost certainly the copyist's oversight.

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

issues: Accompaniment changes , Authentic corrections of FE , Main-line changes , Errors of GC , Dotted or even rhythm

b. 36

composition: WN 17, Polonaise in B♭ major

Quavers in JC & EF

Dotted rhythm in PE
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On the 3rd beat of the bar, we give the dotted rhythm after PE, based on the later autograph – [A].

category imprint: Differences between sources

issues: Dotted or even rhythm

b. 40

composition: Op. 28 No. 24, Prelude in D minor

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In A Chopin probably changed the rhythm of the last two notes from quavers to a dotted rhythm. The correction is evidenced by the evenly spaced notes (the gap between the 1st and the 2nd notes is even slightly greater than between the 2nd and 3rd) as well as by the semiquaver beam, placed too low and clumsily, which suggests that it was added later. Similar corrections were probably introduced also into further bars – see b. 44-53.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Main-line changes , Dotted or even rhythm

b. 44

composition: WN 17, Polonaise in B♭ major

Quavers in JC & EF

Dotted rhythm in PE
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category imprint: Differences between sources

issues: Dotted or even rhythm

b. 44-53

composition: Op. 28 No. 24, Prelude in D minor

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The evenly spaced three notes in the 2nd half of b. 44, 46, 48, 50, 52 and 53 suggest that they were initially supposed to be quavers; the last one was changed to a semiquaver already in the written text. The gaps themselves are a foundation too fragile for such a conclusion; however, one can indicate a few other arguments in favour thereof:

  • the absence of this phenomenon in the first part of the Prelude – prior to b. 40, in all dotted rhythms the gaps between the notes reflect the proportions of rhythmic values;
  • the last note having been definitely shortened from quaver to semiquaver in b. 38;
  • notation in b. 40, in which the correction is evidenced both by the gaps (greater between the 1st and 2nd notes than between the 2nd and 3rd) and the semiquaver beam (added too low and clumsily);
  • clearly darker shade of the semiquaver beams in b. 52-53, which indicates that they were added later.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Main-line changes , Dotted or even rhythm