Chopin Ballade Number 1 Voicing - Measure 8

[deenie]

I am unable to decipher the voicing in measure 8, and hope that someone can shed light on this.  I have seen different editions show this in different ways; my question... Why in the 2nd half of the 4th beat are there 2 voices "Middle C" as a half note, then the D is dotted - which voice gets the dot -  the eighth or quarter voice?  Then on the F# it appears to be both an eight note and a quarter note.  Is there a way to break this down into each voice and show it rhythmically on separate staves for notation purposes?

[dizzyfingers]

In measure 8 of Chopin Ballade 1:
The downward stem shows that the note is held with the finger.
The C, D, and F# get held to the end of the measure.
The upward stem shows how the notes are conceptually grouped as a line of 8th notes.

This method of upper and lower stems happens EVERYWHERE in romantic era music - Chopin, Schumann especially.

No piano teacher?

[deenie]

I am very familiar with the method, just trying to determine if either of these are more 'theoretically' correct from an engraving perspective (voicing and rhythmic values), hence my question about the voicing.

[dizzyfingers]

This is what you said:

I am unable to decipher the voicing in measure 8, and hope that someone can shed light on this.

Part of the problem is your use of the term "voicing".  These aren't voices - bass, tenor, alto, soprano.  It's a single musical line with some notes having dual rhythmic values so that a chord is built.

Why are you concerned about an "engraving" perspective? 
Music notation is mostly logical, but not 100%, some composers are quite imprecise.  In Romantic Era music especially, and there can be some guess work. 
However, Chopin is being quite clear about what he wants here.

The second image may be more rhythmically precise but it's not in any scores I've seen, it's very unconventional; what edition is this?

I cannot understand why a pianist trying to learn this piece would focus on this..

[anacrusis]

I am very familiar with the method, just trying to determine if either of these are more 'theoretically' correct from an engraving perspective (voicing and rhythmic values), hence my question about the voicing.

8-1 is more theoretically correct but it actually changes the music. Look at 8-2 - which is how Urtext editions engrave it, i e it is based on Chopin's original notation - it technically indicates that you should hold the three initial notes until the penultimate note, the let go on the last note. However, Chopin being Chopin, he may actually have meant "just hold these bottom notes for the duration of the figure" but not been exact with the notation.

8-2 is more incorrect from an engraving perspective since the half note is not on the beat but offset by an eighth note. It is more correct to split the note into multiple values tied together to show the major beats.

[dizzyfingers]

Yes, good analysis.

The Jan Eckier edition (see image), the most respected, painstakingly researched edition, has it the "less precise" way, the 8-2 image, which, as you said, is based on the Chopin originals.

Still wondering what this OP's objective is.  Such microscopic focus.  Maybe he should work on Bach engraving - tons of challenges.

[deenie]

Thank you for your interest and replies to my question.  They were very helpful.

My learning and practicing of pieces often includes comparing editions found on IMPLS and transcribing sections on paper or in a notation software package. This helps me with memorizing and understanding the structure of a piece.

I found a workable solution for engraving to the software package since first posting; to assemble measure 8, I applied a separate 'voice' to each of the lower stem  C, D and F#, and then hid the 'rests'.  While not technically 'voices' as in SATB, that is the terminology used in the package. I opted to write and remember it as screenshot 8-2 based on your replies; also that seems to be the one used in most editions I reviewed.  Thanks again.