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b. 3-4

composition: WN 37, Lento con gran espressione

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In A1 the last three chords of the introduction are written with the use of one-part notation.

category imprint: Differences between sources; Corrections & alterations

b. 3-4

composition: WN 37, Lento con gran espressione

c1 repeated in A1

c1 tied in CJ, CK (→CB) & EL
..

The missing tie of c1 is probably Chopin's oversight in A1, hence we consider it acceptable to add it in the text of A1.

category imprint: Differences between sources

issues: Errors of A

b. 3-19

composition: Op. 28 No. 2, Prelude in A minor

One-voice notation in A (→FC→GE, →FE→EE)

Two-voice notation in CGS
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Just like in b. 1-3, later in the Prelude, CGS consistently stuck to a different division into parts, indicating the R.H. to perform the topmost notes on the bottom stave. The only exception are b. 6-7, in which the smaller span of figuration makes it possible to be performed entirely by the L.H. 

category imprint: Differences between sources

b. 3-10

composition: Op. 28 No. 2, Prelude in A minor

..

In As the notation of the L.H. part is incomplete from this moment on – in b. 4-7 and 8-10 the notation is totally or partially lacking:

  • At the beginning of b. 4 and 9, a single note of indefinite pitch is written (resembling a crotchet). It is most probably a B in b. 4 and an f [f] in b. 9, which probably indicates a certain form of continuation of the figuration defined in previous bars, perhaps similar to the one featured in those bars in the final version.
  • The empty 2nd half of b. 8 is almost certainly to be filled with a repetition of the 1st half, which results from the analogy to b. 3. Chopin did not write a repeat sign, since at this point of the Prelude a sequential repetition of the 1st phrase leaves no doubt as to the accompaniment.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

b. 3-15

composition: Op. 28 No. 3, Prelude in G major

Rhythm without rests in FCI

Rhythm with rests in A (→FC→GE, →FE→EE)
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As far as the time intervals between subsequent R.H. notes are concerned, the rhythm of the first phrase (b. 3-6 and 12-15) is no different in FCI from the one Chopin eventually sent to be published. The crossings-out visible in A in b. 3 confirm that the version without rests, preserved in FCI, is earlier. Thanks to the rests, the theme is more precisely articulated and more volatile at the same time. It is also reflected in the slurring – see b. 12.
An analogous change of notation is also to be found in b. 11.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Deletions in A , Main-line changes