This is the E minor prelude - I happened to recognize it by key but not by number.

See e.g. the Wikipedia article (https://en.wikipedia.org/wiki/Prelude,_Op._28,_No._4_(Chopin...) which has a recording embedded, although there are surely better ones.

Sheet music from IMSLP: https://s9.imslp.org/files/imglnks/usimg/3/3c/IMSLP319636-PM...

Honestly, I don't think the observation of accidentals as a way of creating tension with an established harmony is especially novel, but I do like the 3d visualization despite its limitations.

Note on Terminology: This analysis uses specific geometric terms (like 'Station Shift' and 'P-Rotation') defined in the Grammar Specification. If the logic seems opaque, the definitions are here:

1. The Grammar Spec: https://github.com/jimishol/cholidean-harmony-structure/blob...

2. The Topological Basis: https://github.com/jimishol/cholidean-harmony-structure/blob...

That residue in m.2 is common-tone voice leading. It's a technique that was used throughout the common-practice period to avoid tension, not introduce it. I'd bet the progression in m. 1-2 could be found in the figured bass at the beginning of a slow movement by Telemann or another Baroque composer.

Speaking of Baroque composers-- in the Coda of the 4th Ballade, Chopin has an exquisite passage of basso continuo plus accompaniment that would be right at home in a minor key aria by Handel. Except that:

1. There's no melody being accompanied.

2. It moves about 4x faster than it would have in the Baroque era.

I'd love to see a pianist play that passage by suddenly looking up and frantically nodding cues to an invisible, demonic singer.