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Issues : Accompaniment changes
b. 81-82
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composition: Op. 64 No 2, Waltz in C♯ minor
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In both earlier manuscripts, the accompaniment in these bars is a repetition of the version of bars 65-66. Eventually, Chopin replaced the chords with dyads and added a touch at the beginning of bar 82. The latter was probably aimed at avoiding the stoppage of an audible rhythmic pulsation in the face of the introduction of the syncopation in the melody. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 82-83
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composition: Op. 64 No 2, Waltz in C♯ minor
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Just like in analogous bars 66-67, Chopin gradually reduced the number of played notes; he also moved the moment the a note appears by a crotchet. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 84-85
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composition: Op. 64 No 2, Waltz in C♯ minor
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As in bars 68-69 Chopin did not mark the sustention of the note b category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 84-85
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composition: Op. 64 No 2, Waltz in C♯ minor
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The slur over the three-note, chromatic progression of bass is only in the version prepared for print. In GE2no2, it was omitted, probably seeing in it a distorted tie of b category imprint: Differences between sources; Corrections & alterations issues: GE revisions , Accompaniment changes |
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b. 86
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composition: Op. 64 No 2, Waltz in C♯ minor
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As far as the accompaniment is concerned, the only difference between AI and the version prepared for print is b category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |