[Here, the author illustrates with a rhythm diagram consisting of a line of notes divided in measures:  1/8 1/16 1/16 1/8 1/8 | 1/8 1/4 1/8 | 1/8 1/16 1/16 1/8 1/8 | 1/8 1/4 dot]

Chopin has only once been inspired by the krakowiak—­namely, in his Op. 14, entitled Krakowiak, Grand Rondeau de Concert, a composition which was discussed in Chapter VIII.  Thus much of the krakowiak; now to the more interesting second of the triad.

The mazurek [or mazurka], whose name comes from Mazovia, one of our finest provinces, is the most characteristic dance-tune —­it is the model of all our new tunes.  One distinguishes, however, these latter easily from the ancient ones on account of their less original and less cantabile form.  There are two kinds of mazureks:  one, of which the first portion is always in minor and the second in major, has a romance-like colouring, it is made to be sung, in Polish one says “to be heard” (do sludninin); the other serves as an accompaniment to a dance, of which the figures arc multiplied passes and coiuluiles.  Its movement is in time, and yet less quick than the waltz.  The motive is in dotted notes, which must be executed with energy and warmth, but not without a certain dignity.

Now the mazurka is generally written in 3/4-time; Chopin’s are all written thus.  The dotted rhythmical motive alluded to by Sowinski is this, or similar to this—­

[Another rhythm diagram:  1/8 dot 1/16 1/4 1/4 | 1/8 dot 1/16 1/2]

But the dotted notes are by no means de rigueur.  As motives like the following—­

[Another rhythm diagram:  1/4 1/2 | 1/8 1/8 1/4 1/4 | triplet 1/4 1/4 | triple 1/8 1/8 1/8 1/8]

are of frequent occurrence, I would propose a more comprehensive definition—­namely, that the first part of the bar consists mostly of quicker notes than the latter part.  But even this more comprehensive definition does not comprehend all; it is a rule which has many exceptions. [Footnote:  See the musical illustrations on pp. 217-218.] Le Sowinski mentions only one classification of mazurkas.  Several others, however, exist.  First, according to the district from which they derive—­mazurkas of Kujavia, of Podlachia, of Lublin, &c.; or, secondly, according to their character, or to the purpose or occasion for which they were composed:  wedding, village, historical, martial, and political mazurkas.  And now let us hear what the poet Brodzinski has to say about the nature of this dance:-

The mazurek in its primitive form and as the common people dance is only a kind of krakowiak, only less lively and less sautillant.  The agile Cracovians and the mountaineers of the Carpathians call the mazurek danced by the inhabitants of the plain but a dwarfed krakowiak.  The proximity of the Germans, or rather the sojourn of the German troops, has caused the true character of the mazurek among the people to be lost; this dance hap become