Issues : Main-line changes
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b. 11
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composition: Op. 2, Variation IV, primitive version
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The g3 note featured in AsI is compliant with g3 in bar 15, which is a counterpart of bar 11 in the repetition of this four-bar phrase. The idea of diversifying the melodic line here (introduced in A) was then also used in the final version of this variation. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 12
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composition: Op. 24 No. 3, Mazurka in A♭ major
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A distinct difference in notation is barely perceptible with the authentic pedalling.
Elements crossed out in A show the following abandoned version of the first ending: category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Accompaniment changes , Main-line changes |
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b. 12
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composition: WN 17, Polonaise in B♭ major
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Versions of JC and EF differ only in the presence or lack of the slur and the tie. In the main text we adopt the later melodically enhanced version of PE. The internal division of the tie is probably an arbitrary decision of the editor, as Chopin would never use such a notation. category imprint: Differences between sources issues: Main-line changes |
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b. 12
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composition: Op. 28 No. 4, Prelude in E minor
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As contains an earlier version, in which both parts of the Prelude were slightly more distinctly separated. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 12
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composition: Op. 28 No. 12, Prelude in G♯ minor
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This bar was entirely crossed out in A and rewritten on adjacent staves – the R.H. above the crossing-out, while the L.H. – below. In the readable initial version, the regular steps of the R.H. quavers and the position of the 1st L.H. chord are preserved, while the f1 notes are written enharmonically as e category imprint: Corrections & alterations; Source & stylistic information issues: Omissions to cancel alteration , Corrections in A , Deletions in A , Accompaniment changes , Enharmonic corrections , Main-line changes |
1 in 
. The corrections had been performed before the performance marks were introduced – the crossed-out version did not contain the following elements: accent, staccato dots, phrase mark, dashes marking the range of crescendo and pedalling marks. The 
restoring b1 on the 3rd beat of the bar was also missing.