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Issues : Accompaniment changes
b. 2
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composition: Op. 63 No. 2, Mazurka in F minor
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The triad in the original version in As, identical to the version of the analogous bar 10, was replaced by a sixth in the published version. Chopin seems to have strived to concentrate expression, i.a. through stricter control of the voices – cf. e.g. bar 25. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
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b. 3
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composition: Op. 63 No. 2, Mazurka in F minor
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In As the third beat in the L.H. part is not recorded. Since chord repetitions are marked in As by vertical lines symbolizing the stems of repeated chords, we assume that Chopin intended a rest here. It is possible, however, that he considered the repetition of the previous crotchet so obvious that he even omitted the abbreviated marking of this beat. category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
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b. 4-11
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composition: Op. 63 No. 2, Mazurka in F minor
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Moving basses in similar contexts an octave lower (and sometimes replacing them with octaves) is one of the most frequent changes introduced by Chopin while refining already shaped, yet not completely ready musical ideas. See also bar 11. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Bass register changes |
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b. 4
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composition: Op. 63 No. 2, Mazurka in F minor
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In As, Chopin marked the 3rd L.H. crotchet as a repetition of the previous one, which gives a category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 6
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composition: Op. 63 No. 2, Mazurka in F minor
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In As the 2nd L.H. crotchet is an e category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Accompaniment changes |