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. 4), Sonata in C minor
Op. 23, Ballade in G minor
The deletions visible in A in these bars and empty space after the most probably erased g
1 note under the a2 quaver in b. 121, which was initially most probably a g2 (it did not have a ledger line that would cross it), reveal that initially the 2nd half of b. 120 and the 1st half of b. 121 were analogous to b. 118-119: 
. The missing mordent in this version allows us to imagine two scenarios of the changes:
- the idea to diversify b. 120-121 with respect to b. 118-119 came to Chopin when he was just about to write a mordent in the initial version of b. 121;
- initially, there were no mordents in both places; it was only the melodically developed version of b. 120-121 that prompted Chopin to add an ornament 2 bars earlier.
Compare the passage in the sources »
category imprint: Corrections & alterations; Source & stylistic information
issues: Corrections in A, Deletions in A, Main-line changes
notation: Rhythm
