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b. 3
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composition: Op. 26 No 2, Polonaise in E♭ minor
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The overlooked in A flats restoring A category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE |
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b. 3
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composition: Op. 26 No 1, Polonaise in C♯ minor
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The staccato dots for the 2nd chord are rather non-authentic. They were most probably added by the revisers, perhaps as a result of misinterpretation of A – one can see a minor fleck of ink between the beam and note head of the lowest note in the R.H. Moreover, the signs were added inconsistently: FE (→GE1) includes dots only the first time (in GE1 only over the R.H.), yet they are absent in the repetition. The revisers of EE and GE2 (→GE3→GE4→GE5) added dots in both situations. category imprint: Differences between sources issues: EE revisions , GE revisions , FE revisions |
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b. 3
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composition: Op. 26 No 1, Polonaise in C♯ minor
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The first time GE1 overlooked the staccato dot for the G category imprint: Differences between sources issues: Errors in GE |
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b. 3
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composition: Op. 25 No 7, Etude in C♯ minor
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category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , Cautionary accidentals |
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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
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It is one of rare cases of Chopin's giving a clearly different fingering for the same fragment. In the main text we include them both – directly over the notes we give the fingering of FE, probably added by Chopin while proofreading (it does not include the 10th quaver of the bar); the fingering was then repeated in EE2 (→EE3). The top fingering, together with the numerals concerning the 9th and 10th sixth comes from A (→GE). In EE1 there is no fingering in this bar. category imprint: Differences between sources; Corrections & alterations issues: Differences in fingering , Authentic corrections of FE |
and a
-g
before b was added in 
