Rhythm
b. 1-7
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composition: Op. 63 No. 1, Mazurka in B major
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Probably in [A], or perhaps only just while proofreading FE1, Chopin changed the rhythmic notation of the first eight-bar section – he replaced the crotchets at the beginning of bar 1, 3, 5 and 7 with quavers filled with quaver rests. In the remaining three similar phrases he left crotchets (bar 9, 11, 13, 15, 69, 71, 73, 75, 77, 79, 81 and 83). According to us, such a change is probably to be regarded as a clarification of performance, marked the first time but generally valid in all these places. See also bar 3. category imprint: Differences between sources; Corrections & alterations |
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b. 2
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composition: Op. 63 No. 1, Mazurka in B major
category imprint: Differences between sources; Corrections & alterations issues: Dotted or even rhythm |
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b. 3
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composition: Op. 63 No. 1, Mazurka in B major
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The crotchet in the sources is almost certainly a mistake, which is supported by the quaver in the R.H. part and by the quavers in an analogous situation in bars 1, 5 and 7. It can be a mistake by the engraver or Chopin's inadvertence, who would often omit one of the few corrected places – see the note in bar 1. Due to the above, in the main text we give a quaver with a rest. category imprint: Editorial revisions |
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b. 9
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composition: Op. 63 No. 1, Mazurka in B major
category imprint: Differences between sources; Corrections & alterations issues: Dotted or even rhythm |
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b. 24-25
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composition: Op. 63 No. 1, Mazurka in B major
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The missing tie to e2-d2 means that Chopin initially wanted this note to be repeated at the beginning of bar 25. The change of concept is confirmed by the corresponding change of slur – see the note in the next bar. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |