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b. 4-36

composition: Op. 31, Scherzo in B♭ minor

..

In A (→#CF) Chopin did not introduce any additional indications over the semibreve rests (bars 4, 12, 23-24, 28 and 36), which was reproduced only in GE2. In FE (→EE) it was the digit 1 that was placed over each single rest, whereas a pair of bars with rests was replaced with a double bar with a two-bar rest provided with the digit 2. In GE1 in each of the discussed bars both rests were provided with the digit 1. A similar notation was introduced in GE3, in which, however, the ones in bar 24 were replaced with twos. In the main text we keep the simple but unequivocal Chopinesque notation.

category imprint: Differences between sources

issues: GE revisions , FE revisions

b. 4

composition: Op. 50 No. 1, Mazurka in G major

No mark in Afrag & A1 (→FE→EE)

Staccato dot in GE
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In the main text we give the staccato dot with which Chopin provided the 1st chord of the bar in [A2] (→GE). There is a similar situation in b. 28 and 60.

category imprint: Differences between sources; Corrections & alterations

b. 4-28

composition: Op. 50 No. 1, Mazurka in G major

No markings in Afrag & A1 (→FE→EE)

Pedalling in GE
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The addition of pedalling in b. 4 and 28 is most probably one of a few improvements introduced by Chopin to [A2] (→GE).

category imprint: Differences between sources; Corrections & alterations

b. 4

composition: Op. 50 No. 1, Mazurka in G major

No arpeggio signs in Afrag & FE1 (→EE)

Arpeggio sign at first chord in A1

Arpeggio sign at 2nd chord in FE2

Both arpeggio signs in GE
..

The arpeggio mark written in A1 before the first chord was overlooked in FE (→EE), yet an arpeggio mark was added before the 2nd chord in the proofreading of FE2. In the main text we include both arpeggios, in accordance with GE.

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE

b. 4-14

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

2 slurs in FCI

1 slur in A (→FC→GE, →FE→EE)
..

In FCI the slurring of the motif in b. 4-6 and 13-15 shows its microstructure as a combination of two motifs of ornamental origin:

  • the nature of the first one, which is an echo of the one heard a bar before, is of a note preceded by a short grace note,
  • the second one is a note preceded by a long grace note, appoggiatura.

In essence, the entire phrase could be written down as follows (the rhythmic values are halved): .
In the final version, Chopin simplified the slurring in accordance with the natural course of music.
See also b. 28-32. 

category imprint: Differences between sources; Corrections & alterations