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b. 6
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The shorter bottom arm of the accent in AF caused the mark in FE (→EE) to have been reproduced as short. The absence of the accent in GE2 is most probably an oversight. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in A |
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b. 6-15
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composition: Op. 28 No. 3, Prelude in G major
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In FCI the identical places in terms of pitch and rhythm were marked differently, which is noteworthy – dim. in b. 6, yet poco cresc. in b. 15, i.e. in an analogous place. The fact that those indications were abandoned in the final version could have been related to the calmer tempo of the Prelude. See also b. 11, 27-30 and 32. category imprint: Differences between sources |
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b. 6-7
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composition: Op. 28 No. 6, Prelude in B minor
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In FEJ the mark referring to the e category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEJ |
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b. 6
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composition: Op. 28 No. 7, Prelude in A major
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The version of FC (→GE) most probably results from Fontana having misunderstood the notation of A – the second phrase mark in this bar seems to begin earlier due to the trace of a quaver beam, showing through from the Prelude No. 8 in F category imprint: Differences between sources issues: Inaccuracies in FC |
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b. 6
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composition: Op. 28 No. 7, Prelude in A major
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In the main text we omit the unjustified cautionary category imprint: Editorial revisions |
1 crotchet is illegible. According to us, it may be a fingering digit (2), written instead of a 'one' – it would then be the same notation that can clearly be seen in 
before g