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Issues : Accompaniment changes
b. 5-7
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composition: Op. 63 No. 3, Mazurka in C# minor
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The authenticity of the change of position of the accompanying chords and the bass register introduced in FE2 (→EE) is unquestionable. In a later version Chopin polished up the sequence of 3 voices contained in chords in the tenor and alto register and avoided a parallel shift of chords (G category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Bass register changes |
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b. 6
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composition: Op. 63 No. 2, Mazurka in F minor
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In As the 2nd L.H. crotchet is an e category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
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b. 7-11
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composition: Op. 24 No. 2, Mazurka in C major
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A bears traces of corrections made in the 1st crotchet of the L.H. in bars 7 (erasure) and 11 (crossing-out). In bar 11, Chopin replaced the chord f-a-d1 with the third d1-f1. Traces of his intervention in bar 7, although less clear, also point to the same change. A corresponding correction was also introduced by the composer in all the analogous bars: 39, 43, 91 and 95. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Accompaniment changes |
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b. 7
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composition: Op. 10 No 2, Etude in A minor
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The alignment of the notation of the L.H. to the rhythm of the previous bars introduced in FEcor (→FE→GE,EE) is an undeniable improvement. category imprint: Differences between sources; Corrections & alterations |
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b. 7
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composition: Op. 10 No 2, Etude in A minor
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In the main text we give b1, which Chopin introduced instead of previous a1 while still preparing the base text for FE (→GE,EE), as the topmost note of the chord. The inner note of the chord reveals Chopin's hesitation between f category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |