Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 44, Polonaise in F♯ minor
On the 2nd and 3rd beats of the bar one can see corrections of the bottom R.H. notes in AImaz the result of which is not entirely clear. The crotchet on the 2nd beat could be interpreted as d2-a2 or c
2-a2, since it is uncertain whether Chopin was changing c2 to d2 or the other way around. According to us, it is the former that is more likely, which is indicated by the correction of the next crotchet, in which c2 was changed to c2. Therefore, it is likely that Chopin initially wrote down the same harmonic sequence as in the next bar (c2-a2 and c2-a2), only to later raise both bottom notes, which resulted in d2-a2 and c2-a2. The text of the Polonaise reveals that Chopin eventually abandoned that diversification.
Compare the passage in the sources »
category imprint: Graphic ambiguousness; Corrections & alterations; Source & stylistic information
issues: Accompaniment changes
notation: Pitch
