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b. 6-20

composition: Op. 45, Prelude in C♯ minor

Notation in FE (→EE)

GE
..

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

b. 6

composition: WN 17, Polonaise in B♭ major

No indication in JC & PE

dim. in EF
..

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

b. 6

composition: WN 17, Polonaise in B♭ major

Rhythm in JC (literal reading)

Rhythm in JC (interpretation) and EF

PE
..

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

b. 6-7

composition: Op. 10 No 1, Etude in C major

..

The sharp in front of f2 in bar 6 is present only in EE, while the  in front of a3 in bar 7 appears only in the later impressions and editions (EE4 and all GE,s except for GE1). Moreover, in CLI there is no  in front of f1 in bar 6. Those discrepancies does not influence the reading of the text, yet they result from the gradually specified rules governing the accidentals.

category imprint: Source & stylistic information

issues: EE revisions , Accidentals in different octaves , GE revisions

b. 6

composition: Op. 10 No 2, Etude in A minor

..

In CLI the lower note is an erroneous f2.

category imprint: Interpretations within context; Differences between sources

issues: Errors of CLI