Issues : Corrections in A

b. 1

composition: Op. 24 No. 3, Mazurka in A♭ major

The rhythm in AI

The rhythm in A (→GEFEEE)

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In A (→GEFEEE) Chopin changed the R.H. rhythm in comparison to the AI version. Scrapings visible in A show that Chopin considered even a double dotted rhythm: the last d2 was written as a semiquaver following a crotchet with two dots.

AI also has a different version in the L.H.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Chopin's hesitations

b. 4-8

composition: Op. 24 No. 3, Mazurka in A♭ major

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Accompaniment changes

b. 7-8

composition: Op. 24 No. 3, Mazurka in A♭ major

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In A, the slur over these bars was in fact combined from three shorter fragments.

category imprint: Source & stylistic information

issues: Corrections in A

b. 12

composition: Op. 24 No. 3, Mazurka in A♭ major

L.H. in AI

A (→GEFEEE)

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A distinct difference in notation is barely perceptible with the authentic pedalling.

Elements crossed out in A show the following abandoned version of the first ending:

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Accompaniment changes , Main-line changes

b. 20-21

composition: Op. 24 No. 3, Mazurka in A♭ major

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Erasures and other traces visible in A demonstrate that initially Chopin noted the minim e1 sustained in bars 20-23 on the upper staff.  The laborious graphic alteration must have been undertaken to convey some vital information: that note, struck with the right hand at the beginning of bar 20, is then much more convenient to play when taken over and sustained with the left hand.  

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A