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b. 6-7
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composition: Op. 49, Fantaisie in F minor
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The missing articulation markings between the bars may be explained by an oversight by the copyist or by the engraver of FE or – which seems less likely in this case – by the markings having been added to A later. The fact that the marks were added by EE2 most probably resulted from using GE1 while revising. category imprint: Differences between sources issues: EE revisions |
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b. 6
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A the arpeggio wavy line is on the right side of the chord, which almost certainly does not impact its meaning. In the editions it is in its common position. See I mov. of the Sonata, bar 202. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Inaccuracies in A |
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b. 6
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The version featuring A is absolutely possible, harmonically speaking; however, it seems much more likely that Chopin forgot to write a category imprint: Differences between sources issues: Omissions to cancel alteration , GE revisions , Errors of A |
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b. 6-8
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composition: (Op. 4), Sonata in C minor, Mvt III
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The range of the A slurs in bar 6 and 8 is unclear – the former, ending between g1 and e category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Inaccurate slurs in A , GE revisions |
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b. 6-16
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composition: (Op. 4), Sonata in C minor, Mvt II
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In the sources, at the beginning of bar 6, there is a double bar line provided with category imprint: Differences between sources; Editorial revisions; Source & stylistic information issues: EE revisions , Errors in EE , Abbreviated notation of A , FE revisions |
in 
(as in the previous bar). It is supported by the regular, chromatic bass sequence, contrasting with the chromatic sequence of the topmost R.H. notes (e-f-f
-g); above all, it is supported by the flats in two analogous bars as this theme returns – bar 189 and 372. Considering the above analysis, in the main text we provide the version of the editions, featuring A
marks, indicating the place from which the first period of the Minuet should be repeated after bar 37. Chopin did not write bars 38-48 but wrote Dal Segno al Fine at the end of bar 37, directing us to bars 6-16. We reproduce this shorthand notation only in the graphic transcription (the version "transcript").