Issues : Chopin's hesitations
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b. 1
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In A (→GE→FE→EE) 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 d category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Chopin's hesitations |
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b. 12
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In AI, there is a double bar line before the 3rd beat of the bar. No such line, separating a new section of the Mazurka beginning here, is to be found in A (→GE→FE→EE). category imprint: Differences between sources issues: Chopin's hesitations |
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b. 20-24
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composition: Op. 24 No. 3, Mazurka in A♭ major
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Compared with AI Chopin made the ending of the middle phrase of the Mazurka in A (→GE→FE→EE) longer by two bars. The composer wavered as regards tying or repeating the first c2. In the main text we take account of a tie to this note added by Chopin while correcting the FE (→EE). category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Main-line changes , Changed phrase length |
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b. 22-24
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In AI, the middle part of the Mazurka ends in bar 22 with two crotchets c2. The quavers b flat1, a flat1 introduce the repeat of the beginning. In A (→GE→FE→EE) Chopin changed his musical idea, lengthening that fragment by two more bars. See bars 20-24. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations |
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b. 25
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composition: Op. 24 No. 3, Mazurka in A♭ major
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The even crotchets in AI are probably an original version of rhythm in this bar. category imprint: Corrections & alterations issues: Chopin's hesitations |
2 was written as a semiquaver following a crotchet with two dots.
