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b. 6-21
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composition: Op. 45, Prelude in C♯ minor
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In GE, whole notes constituting part of chords that also contain notes of different rhythmic values are placed close to the middle of the bar, more or less above the 4th quaver of the L.H. Such notation, characteristic for Chopin's autographs, has long gone out of use. In FE, the tendency to graphically separate whole notes is much less pronounced, while EE's notation is close to contemporary practice. category imprint: Source & stylistic information |
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b. 6-20
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composition: Op. 45, Prelude in C♯ minor
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For the octave occurring in the middle of bars 6, 10 and 20 we adopt the two-part notation of GE, corresponding to the notation of bar 8 and analog., as our main text. The notation of FE (→EE), economical to the maximum, is very Chopin-like in its simplicity and therefore definitely authentic, yet probably earlier (cf. the note concerning bar 26). category imprint: Differences between sources |
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b. 6
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composition: WN 17, Polonaise in B♭ major
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The indication dim., in accordance with the natural phrasing, may correspond to Chopin's intentions, despite the fact that most probably it was added in EF by Fontana. Cf. the remark in bar 9. category imprint: Differences between sources |
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b. 6
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composition: WN 17, Polonaise in B♭ major
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The rhythm in EF (equal quavers at the end of the bar) and – despite a mistake – in JC most probably corresponds to the notation of [AI]. In [A] (→PE), which is undoubtedly a later version, Chopin homogenised the rhythm of the 3rd beat of the bar in bars 1-3 and 5-7. category imprint: Differences between sources issues: Errors of JC |
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b. 6-7
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composition: Op. 10 No 1, Etude in C major
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The sharp in front of f category imprint: Source & stylistic information issues: EE revisions , Accidentals in different octaves , GE revisions |
2 in bar 6 is present only in 
in front of a