At the top of his creation 6, Chopin set a Mazurka in F sharp minor – the extremely one which, with its underlying topic, introduces that recent trend which is so exceptionally normal for Chopin. Simultaneously, there is no question that we have before us, yet poeticised and sublimated, a kujawiak, with its melodic rubato and shaking dance movement. A kujawiak outfitted with a most refined harmonization, for example, one would be unable to find in provincial music. The Mazurka’s subsequent topic brings force and panache and a progression of accents common of a heel-clicking mazur (bars 16-24). At long last, the third topic, its personality determined as scherzando, alludes to the model of an oberek (bars 40-48).
Subsequently three dance characters included the music of the F sharp minor Mazurka. The first of them rules the entire of this melodious dance scaled down. Zdzisław Jachimecki heard in this work ‘a musically fanciful and melodically refined people tune’.