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b. 3-8

composition: Op. 24 No. 3, Mazurka in A♭ major

AI and A (→GE1→FE→EE)

Additional "voice" in GE2
..

In bars 3-4 & 7-8 in GE2 the crotchets e and A were notated as if each of them belonged to two parts. This kind of pedant revision, justified in an orchestral score, is a needless complication in piano music performed by one person. A similar situation occurs in bars 25-28 & 31-32.

category imprint: Differences between sources

issues: GE revisions

b. 3-8

composition: Op. 24 No. 3, Mazurka in A♭ major

 and accents in A

GE (→FE→EE)

Accents in AI
..

We reproduce the   signs in bars 3-4 and 7-8 in the main text according to A. In bars 7-8 in GE (→FE→EE) those signs were reproduced slightly inaccurately.  AI has accents instead of hairpins for d flat2 (a long and a short one), while the accents over a flat1 in bars 4 and 8 are missing.

category imprint: Differences between sources

b. 3-4

composition: WN 17, Polonaise in B♭ major

Few octaves in JC

No octaves in EF

Octaves in PE
..

From the musical point of view, the version of JC seems to be very dubious: the indication [con] 8 - - - is probably written in a wrong place – it was supposed to include the entire bass progression in bar 4. However, most probably we are dealing here with a misunderstanding of the corrections of the entire introduction (bars 1-8) written in a short cut manner in [AI]. The same applies to the version of EF. 

In EF there are no rests at the end of bar 4, as the phrase ends with a crotchet (in the parts of both hands).

category imprint: Differences between sources

issues: Errors of JC

b. 3

composition: WN 17, Polonaise in B♭ major

G in JC

G1-G in EF

B1-B in PE
..

Using a chord without third at the beginning of the bar, as it is both in JC and in EF, raises doubts as to the correctness of Chopin's notation reading in [AI]. However, even if that version was intended by Chopin in any stage, later it was replaced by the musically smoother version of PE. 

category imprint: Differences between sources

b. 3

composition: WN 17, Polonaise in B♭ major

R.H. in JC

EF

PE
..

The version of JC and EF, with a clearly audible doubled leading note B-b on the 5th quaver of the bar, is undoubtedly earlier. It is difficult to determine how the difference concerning sustaining the g note at the transition between bars 3 and 4 was developed. In PE, the lower note of the last semiquaver was printed on the level of c1, which is certainly a mistake corrected by us into d1.

category imprint: Differences between sources

issues: Main-line changes