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b. 5
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composition: Op. 29, Impromptu in A♭ major
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In A the end of tie reaches the next bar. We consider it to be an inaccuracy of notation due to the obvious phrase structure and consistent slurring in almost each out of 11 analogous bars. category imprint: Graphic ambiguousness issues: Dedications , Inaccurate slurs in A |
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b. 5
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composition: Op. 27 No 1, Nocturne in C# minor
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We add a cautionary natural before e2. This sign is also supplemented in EE. category imprint: Differences between sources; Editorial revisions |
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b. 5-13
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composition: Op. 27 No 1, Nocturne in C# minor
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In bar 5 in GE (→FE→EE) the semiquaver in the figure See the chapter devoted to this topic in: Jan Ekier, Introduction to the National Edition, Editorial Issues. category imprint: Interpretations within context issues: GE revisions , Dotted rhythms and triplets |
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b. 5
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composition: Op. 27 No 2, Nocturne in D♭ major
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The accent over a1 is doubtless a long one in A; this is testified by the change made in GE2 (probably after a repeated analysis of A). The sign in FE is not quite clear, yet it resembles a long accent more than a short one. In spite of that, EE has a short accent over the note in question. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 5
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composition: Op. 27 No 2, Nocturne in D♭ major
category imprint: Differences between sources; Corrections & alterations issues: Errors of A , Accompaniment changes , Authentic corrections of GE |
is moved to after the third note of the triplet in the accompaniment, similarly in bars 9, 11 & 13. This inauthentic notation, misleading for the performer, was used throughout the Nocturne – cf. bars 
in 