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b. 26
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composition: Op. 28 No. 17, Prelude in A♭ major category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 27-42
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composition: Op. 28 No. 17, Prelude in A♭ major
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As before, in A (→FC→GE) the majority of the groups of repeated quavers were written as dotted crotchets or minims provided with quaver tremolo marks. In A this is how the L.H. in b. 32-33 and in the 2nd halves of b. 27-31, 36-37 and 42 and the R.H. in the 1st half of b. 32 and in the 2nd halves of b. 27, 29, 31, 33-34 and 42 were marked. There is a similar situation in FC (→GE) – except b. 36, while in GE also except b. 27. In addition, in FC (→GE1) the tremolo beam in b. 33 was overlooked – see the note in that bar. category imprint: Differences between sources; Source & stylistic information issues: GE revisions , Abbreviated notation of A , Errors of FC |
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b. 28-30
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composition: Op. 28 No. 17, Prelude in A♭ major
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In A Chopin inserted cautionary naturals before c1 in b. 28 and 30, repeated in all subsequent sources (they are absent in FCI). In the main text we keep only the former of those dispensable accidentals, adding a category imprint: Differences between sources; Editorial revisions issues: Cautionary accidentals |
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b. 31
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composition: Op. 28 No. 17, Prelude in A♭ major
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In FCI there is one other bar following b. 31, actually identical with the final version of b. 31 – the only difference is that the e2 minim is tied there and not played. In FCI this additional bar, which we mark as 31', differs from the previous one in the bass note having been moved an octave lower: in b. 31 it is e, while in b. 31' – E. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Changed phrase length |
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b. 32
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composition: Op. 28 No. 17, Prelude in A♭ major
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In FCI d category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Main-line changes |
raising e
1 to e1 in 
2 is played already at the beginning of this bar. According to us, the version cannot be considered a variant for the final text, since the top voice rhythm is a natural consequence of the length of the phrase, which in