Issues : Last key signature sign
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b. 8-24
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composition: Op. 64 No 3, Waltz in A♭ major
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In the main text we omit the cautionary category imprint: Editorial revisions |
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b. 8
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composition: Op. 25 No 12, Etude in C minor
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It is hard to assume how the difference between the versions of FE and EE1 and these of FC (→GE) and EE2 (→EE3) occurred. In FC, the naturals introducing a are written by the copyist, which means that they were present in the manuscript, probably an autograph copied by Fontana. Therefore, the absence of these signs in FE and EE1 could be explained by their later deletion by Chopin in the base texts to these editions. Hence a regular, chromatic progression of minor thirds in the middle voices would be then introduced only in bar 54 as a kind of variation of the repetition of this place. However, not being certain if it was so – the versions of FE and EE1 could have been results of mistakes – in the main text we give the undoubtedly authentic version of FC (→GE). category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in EE , Last key signature sign |
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b. 9
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composition: Op. 10 No 5, Etude in G♭ major
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We add a cautionary category imprint: Differences between sources issues: GE revisions , Cautionary accidentals , Last key signature sign |
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b. 10
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composition: WN 17, Polonaise in B♭ major
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JC has a category imprint: Differences between sources |
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b. 11
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composition: Op. 22, Andante spianato
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In the main text we omit the superfluous cautionary category imprint: Editorial revisions |
next to d
2 in bar 8, present in the sources. Chopin probably feared that b1 at the beginning of the bar may trigger an association with d2. Similarly in bar 24, which in 
before a in the chord on the 3rd beat of the bar. In this harmonic context, the sign is unjustified. 
before the 3rd semiquaver, f
, present in all sources.