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WN 55, Waltz in F minor

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b. 27

composition: WN 55, Waltz in F minor

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There is no natural next to b1 in AG (→CY), CC, #CF and PE.

category imprint: Differences between sources; Editorial revisions

b. 27

composition: WN 55, Waltz in F minor

 
 
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In F, the a is written in the great octave, whereas the remaining sources - in the small octave. Moving the a an octave down may be certainly considered Fontana's revision.

category imprint: Differences between sources

b. 27

composition: WN 55, Waltz in F minor

 
 
 
 
 
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category imprint: Differences between sources

b. 28

composition: WN 55, Waltz in F minor

 
 
 
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category imprint: Differences between sources

b. 29

composition: WN 55, Waltz in F minor

 
 
 
 
 
 
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The sources differ in:
- the rhythmic value of d on the 1st beat in the L.H.: AO, AR, CX have a crotchet, CC and FC - a minim and AK, AG (→CY) and the editions - a dotted minim. Additionally, in AG there is a crotchet rest in the top voice. In AE, it seems that Chopin wrote a crotchet first and then, with an intention of prolonging it, he added a minim in front of it. In order to avoid crossing outs in the autograph, he preserved both values, which we transcribe as a two-part writing (the variant of CC features a simplified notation). There is an analogous situation in bar 21 in AE.
- the consonances on the 2nd and 3rd beats: AO, AR, AE (→CX) and CC have f-b fourths, AK and AG (→CY) - a-b seconds, whereas the F sources feature the f-b fourths with an added d1, for a full triad. 

category imprint: Differences between sources; Corrections & alterations