(Op. 4), Sonata in C minor, Mvt I

  b. 170

		c1 & c2 in A (→GE→EE1), contextual interpretation
		c1 & c2 in FE
		c1 & c2 in IE & EE2
		c1 (with ) & c2 suggested by the editors

The sound of the 4th L.H. quaver and the 6th R.H. quaver may be questionable. In A and in the majority of the editions there are no accidentals before them, which results in c¹ on the 4th quaver and in c² on the 6th quaver. In the case of the 6th quaver, such an interpretation stems from a convention used in Chopin's times, according to which when a note requiring a tie to the next bar needed an accidental, this accidental was also placed at the beginning of the next bar. Therefore, the c³ note at the beginning of the discussed bar is preceded by a  in the sources, and this flat influences the 6th quaver written at the same pitch, since Chopin considered accidentals to be valid in spite of an octave sign. Nevertheless, Chopin almost certainly meant c², and he simply forgot the presence of  at the beginning of the bar (overlooked alteration cancellations are one of the mistakes Chopin committed most frequently). The case is supported by the following arguments:

• The figuration structure, in which the 4th and 6th quaver are foreign notes of the G⁷ chord, which is the harmonic basis in this bar. In the case of lower neighbouring notes (as it is here), Chopin would generally use notes a semitone away from the chord tone – cf., e.g. the Ballade in G minor, Op. 23, bars 208-209, the Polonaise in E, Op. 22, bars 69-74 or the Concerto in F minor, Op. 21, III mov., bars 117-119.
• Harmonic context – a chord written down as G⁷ resolves to F major, consolidated throughout the next 8 bars as the dominant to the target key of B minor. Chopin signalises it through foreign notes belonging to this key, e and c, and not c. This type of anticipation is to be found, e.g. in the Allegro de Concert, Op. 46, at the end of bar 87 (b³, and not b³ against the F⁷ chord) or in the Rondo in F, Op. 5, bars 441-442 (g and not g against the D⁷ chord).

We reproduce the original A notation only in the graphic transcription (version "transcript"). In the content transcription we present a version without repeated flats to c³ and d³ at the beginning of the bar, which guarantees that the sound of the 6th quaver (c²) is compliant with the above analysis. In the main text we provide c¹ and c² with an added cautionary  to c¹.

Compare the passage in the sources »

category imprint: Differences between sources; Editorial revisions

issues: EE revisions,

notation: Pitch

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