Rhythm
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b. 1-10
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composition: Op. 28 No. 9, Prelude in E major
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We reproduce the dotted rhythms against the triplets in the R.H. in accordance with the notation of A (→FC), in which the semiquavers fall exactly over the 3rd quaver of the accompanying triplets. In FE (→EE) and GE the semiquavers were arbitrarily moved beyond the 3rd note of the triplets, contrary to the convention Chopin would use all his life. See the Nocturne in C category imprint: Differences between sources issues: GE revisions , Dotted rhythms and triplets , FE revisions |
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b. 1
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composition: Op. 28 No. 9, Prelude in E major
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In A one can see a crossing-out proving that the time signature was changed from category imprint: Corrections & alterations; Source & stylistic information issues: Changes of metre , Corrections in A , Deletions in A |
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b. 8
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composition: Op. 28 No. 9, Prelude in E major
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Like in the remaining places in which the dotted rhythm and a triplet are juxtaposed, in the main text we give the notation of A. FC reproduced it inaccurately, yet it kept the synchronization of semiquavers; in turn, the notation of the editions is contrary to the convention used by Chopin. Exceptionally in this bar, in FE b, the last semiquaver, comes into contact with the bottom-voice a (probably due to lack of space), which suggests that they are to be played simultaneously, and moreover, in two teaching copies, on the 2nd, 3rd and 4th beats, we can see added dashes indicating a simultaneous performance of the semiquaver with the last quaver of the triplet. Consequently, the notation of the last three beats of that bar is equivalent to the notation of FC in those copies. category imprint: Differences between sources; Source & stylistic information issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ , Dotted rhythms and triplets |
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b. 9-12
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composition: Op. 28 No. 9, Prelude in E major
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In A one can see that in the entire second part of the Prelude the dotted rhythms in the R.H. part's top voice were devoid of both double dots and demisemiquavers. Chopin marked the first change by adding only a second dot next to the b quaver and a third beam to the following semiquaver/demisemiquaver. In the next ones he would also modify the position of the newly created demisemiquavers with respect to the triplets' third quavers. This confirms that placing the upper voice note vertically aligned with the corresponding lower voice quaver meant simultaneous performance, since hitting the demisemiquaver after the last quaver of the triplet required them to be separated in writing. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 10
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composition: Op. 28 No. 9, Prelude in E major
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The version of EE is probably a mistake – in the entire Prelude it is the only bar in which there are two different dotted rhythms in the top voice in an authentic version, which the engraver of EE apparently did not expect. category imprint: Differences between sources issues: Errors in EE |
Minor, Op. 27 No. 1, b. 
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