Issues : Dotted rhythms and triplets
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b. 1-10
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composition: Op. 28 No. 9, Prelude in E major
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We reproduce the dotted rhythms against the triplets in the R.H. in accordance with the notation of A (→FC), in which the semiquavers fall exactly over the 3rd quaver of the accompanying triplets. In FE (→EE) and GE the semiquavers were arbitrarily moved beyond the 3rd note of the triplets, contrary to the convention Chopin would use all his life. See the Nocturne in C category imprint: Differences between sources issues: GE revisions , Dotted rhythms and triplets , FE revisions |
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b. 5-13
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composition: Op. 27 No 1, Nocturne in C# minor
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In bar 5 in GE (→FE→EE) the semiquaver in the figure See the chapter devoted to this topic in: Jan Ekier, Introduction to the National Edition, Editorial Issues. category imprint: Interpretations within context issues: GE revisions , Dotted rhythms and triplets |
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b. 8
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composition: Op. 28 No. 9, Prelude in E major
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Like in the remaining places in which the dotted rhythm and a triplet are juxtaposed, in the main text we give the notation of A. FC reproduced it inaccurately, yet it kept the synchronization of semiquavers; in turn, the notation of the editions is contrary to the convention used by Chopin. Exceptionally in this bar, in FE b, the last semiquaver, comes into contact with the bottom-voice a (probably due to lack of space), which suggests that they are to be played simultaneously, and moreover, in two teaching copies, on the 2nd, 3rd and 4th beats, we can see added dashes indicating a simultaneous performance of the semiquaver with the last quaver of the triplet. Consequently, the notation of the last three beats of that bar is equivalent to the notation of FC in those copies. category imprint: Differences between sources; Source & stylistic information issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ , Dotted rhythms and triplets |
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b. 15-26
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composition: Op. 27 No 1, Nocturne in C# minor
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In bar 15 in GE (→FE→EE), the semiquaver in the figure category imprint: Interpretations within context issues: GE revisions , Dotted rhythms and triplets |
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b. 29-36
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composition: Op. 27 No 1, Nocturne in C# minor
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In bars 29-36 (and further ones – cf. bars 48, 50, 51 & 53-62), GE has the quaver of the R.H. part placed directly over the last note of the 2nd L.H. triplet. In the editors' opinion, this is not in line with Chopin’s intentions; instead, it reflects the manner of the GE engraver. category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: GE revisions , Dotted rhythms and triplets |
Minor, Op. 27 No. 1, b. 
is moved to after the third note of the triplet in the accompaniment, similarly in bars 9, 11 & 13. This inauthentic notation, misleading for the performer, was used throughout the Nocturne – cf. bars 
