Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 21, Concerto in F minor, Mvt III
The third at the beginning of bar 454 and the chord at the beginning of bar 455 are written in A with two voices – both d
3 are provided with separate stems pointing upwards. This detail was not reproduced in any of the editions, we omit it in our transcriptions, too. Chopin generally had a practical, pianistic approach and would separate the voices only when they moved in different rhythm – cf. the notation of all the remaining crotchets ending this kind of triplet sequences (bars 410-411, 413-415 and analog.); therefore, this strict, "score-like" notation applied in this place is rather an exception.
Compare the passage in the sources »
category imprint: Editorial revisions; Source & stylistic information
issues: Inaccuracies in GE
notation: Rhythm
