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Issues : Corrections of AI
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b. 63-64
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The notation of AI shows the evolution of the accompaniment in these bars. In both bars Chopin started from a typical bass-chord-chord structure, which he modified in b. 64 by replacing the last chord with a transitional F category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes , Corrections of AI |
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b. 65-67
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In b. 65 and 67, there are two variant versions of the R.H. motifs in AI. Eventually, Chopin used the idea that was written first. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Corrections of AI |
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b. 66
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In AI one can see the deleted initial form of the accompaniment – c category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes , Corrections of AI |
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b. 139
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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It seems that both published versions of the beginning of this bar were already present in AI, in which one can see a crossing-out of the crotchet, probably G category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Chopin's hesitations , Accompaniment changes , Corrections of AI |
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b. 159
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In this layout, the rest in AI, although formally justified, could suggest the g category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Deletions in A , Corrections of AI |
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