Pitch
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b. 30
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composition: Op. 64 No 2, Waltz in C♯ minor
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In the main text we add a cautionary category imprint: Editorial revisions |
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b. 30
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composition: Op. 64 No 2, Waltz in C♯ minor
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In the original version, written in As, the melodic line develops using the scheme of repeated notes, initiated in bar 10. In the final version, Chopin shaped the melody differently, referring to the scheme only in bar 31. category imprint: Differences between sources; Corrections & alterations |
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b. 31-32
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composition: Op. 64 No 2, Waltz in C♯ minor
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In analogy to bars 159–160 in some of later collective editions an analogous version was introduced also here. Examples of minor diversifications, introduced at repetitions of similar phrases, are too numerous in Chopin's music in order to consider such a unification to be justified. Cf., e.g., the Mazurka in G minor, Op. 24 No. 1, bar 57. category imprint: Source & stylistic information |
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b. 31
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composition: Op. 64 No 2, Waltz in C♯ minor
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Three versions of this bar show that Chopin from the very beginning had a general vision of shaping the melodic line – category imprint: Differences between sources; Corrections & alterations |
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b. 32
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composition: Op. 64 No 2, Waltz in C♯ minor
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The change of c category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Bass register changes |
before d
. A similar addition was introduced in 
– and that he tried to fill the framework with different motivic cells, as, e.g., the f
-g
