I have the Henle Urtext edition of that Nocturne, which should reproduce 
Chopin's notation: as far as I can see it is the same as in that example. We're 
discussing dotted notes that share noteheads: you can see some in measures 33 - 
35.

Another nice example is given the Nocturne in F# minor, opus 48 Nr. 2. The 
Henle Urtext edition shows a dotted half note sharing a notehead with a half 
note in the first measure. In measures 7 and 8, triplet eighth notes share 
noteheads with half notes or dotted quarter notes. I'm sure this was how Chopin 
wrote it. Other editions have tried to "correct" Chopin's notation, see for 
instance here:

http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0073868

Putting aside the question of whether we should accurately reproduce Chopin's 
shared noteheads or not (I think we should), I'd say that the double notehead 
in measure 1 is OK, but the double noteheads in measures 7 and 8 are clumsy and 
hinder the reading of the passage. 

Michael

On 8 Feb 2011, at 05:00, David W. Fenton wrote:

> On 7 Feb 2011 at 13:28, Steve Parker wrote:
> 
>> Found one on the web.
>> 
>> http://www.music.informatics.indiana.edu/media/don/chopinnocturnediffd
>> urs_context2.jpg
>> 
>> There is so much 'technically' rhythmically wrong and unclear here. Of
>> course it is perfectly clear and expressive. Imagine writing it as
>> played and it feels like a different piece
> 
> The F# Nocturne -- I played it.
> 
> I don't know what your point is by citing it. It doesn't at all 
> relate to the topic we were speaking about -- it introduces a whole 
> host of unrelated issues (so far as I can see).
> 
> And that's the Paderewski edition, which does not necessarily 
> represent what was in Chopin's autograph.
> 
> -- 
> David W. Fenton                    http://dfenton.com
> David Fenton Associates       http://dfenton.com/DFA/
> 
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