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b. 5
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composition: Op. 28 No. 19, Prelude in E♭ major
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The 3rd quaver in GE1 is a c2 (with a category imprint: Interpretations within context; Differences between sources issues: Errors in GE , Terzverschreibung error , GE revisions |
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b. 5
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composition: Op. 28 No. 15, Prelude in D♭ major
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In A the penultimate quaver in the bar was initially a d category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 5
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composition: Op. 28 No. 14, Prelude in E♭ minor
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The missing naturals raising c * A precautionary approach should be taken in the case of a reasoning based on a cautionary accidental – in b. 12 in A we can also observe crossed-out flats before c category imprint: Interpretations within context; Differences between sources; Source & stylistic information issues: Annotations in teaching copies , EE revisions , GE revisions , Omission of current key accidentals , Deletions in A , Annotations in FES , Last key signature sign |
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b. 5
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composition: Op. 28 No. 12, Prelude in G♯ minor
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In the main text we add a cautionary category imprint: Editorial revisions |
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b. 5-7
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composition: Op. 28 No. 18, Prelude in F minor
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In A one can see that in b. 5 Chopin initially wanted to lead the L.H. semiquaver sequence to the middle of the bar. He also introduced a similar change into b. 7, in which he started writing L.H. semiquavers from the beginning of the bar. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
). At this pitch, a natural does not cancel anything; in turn, it deprives the 6th and 9th semiquavers of necessary alterations, which points to a Terzverschreibung mistake, irrespective of the compliant version of the remaining sources. The error was corrected in 
1-f1 third, like in b. 1. The same applies to b. 24.
written in 
before c
2.