Rhythm
|
b. 3-4
|
composition: Op. 28 No. 24, Prelude in D minor
..
In the first part of both bars, one can see crossings-out in the R.H. part in A. In b. 3 the correction most probably concerned rhythm – it seems that Chopin started writing the first two notes as a dotted quaver and a semiquaver. The crossings-out in the 1st half of b. 4 could have concerned two rests (a crotchet rest and a quaver one). It would mean that the dotted d1 crotchet and the tie that reaches it were added later. Traces of such minor rhythmic changes can also be seen later on, see, e.g. b. 5 and 8. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
|
|
b. 5-6
|
composition: Op. 28 No. 24, Prelude in D minor
..
The crossings-out visible in A allowed us to decipher the initial rhythm of b. 5: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
|
|
b. 6-7
|
composition: Op. 28 No. 24, Prelude in D minor
..
GE overlooked the crotchet stems prolonging the A notes. category imprint: Differences between sources issues: Errors in GE |
|
|
b. 7
|
composition: Op. 28 No. 24, Prelude in D minor
..
Chopin started crossing out and correcting the R.H. part; afterwards, he decided to rewrite the entire bar, on the staves above. The changes probably concerned two elements:
category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
|
|
b. 8
|
composition: Op. 28 No. 24, Prelude in D minor
..
One can see a crossed-out semiquaver rest between the last two R.H. notes in A. Chopin performed the same correction in analogous b. 26, which confirms that it was only just at the stage of writing A that Chopin forwent the division of this motif into two parts. See also b. 46. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
. According to us, it is likely that it was also the last a1 note in b. 6 that was initially a quaver – it is indicated by a denser notation, which points to a semiquaver rest having been possibly added, as well as by the difference in the shape of the flags next to that note, which would suggest that they were entered at different times.
;