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b. 7
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composition: Op. 21, Concerto in F minor, Mvt III
category imprint: Differences between sources issues: GE revisions |
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b. 7
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composition: Op. 11, Concerto in E minor, Mvt I
..
category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE |
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b. 7-8
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut, it is unclear from which note the slur begins. When interpreted literally, it seems to be encompassing three notes, from the e1 semiquaver. However, according to us, the shape of the line suggests that Chopin started writing it earlier, yet the ink did not flow out immediately. From the musical point of view, it would be a slur beginning already from the c2 quaver that would be most natural; however, reluctant to excessively intervene in the graphic image of music, in the main text we suggest a slur from the note that directly precedes its visible ending. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Inaccurate slurs in A , GE revisions |
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b. 7
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composition: Op. 16, Rondo in E♭ major
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In the chord in the middle of the bar, GE1 has a b category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 7
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composition: Op. 11, Concerto in E minor, Mvt III
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The authenticity of the grace note in the form of a small crotchet raises serious doubts – a small quaver occurs here in the Flute I part of FEorch (→GEorch). The discussed notation was found erroneous already in GE and EE, and both introduced forms of grace notes may be considered to be potentially compliant with the notation of [A]. In the main text, we adopt slashed quavers, most frequently used by Chopin. See I mov., bar 250. category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |
before f
1 was added in 
crotchet instead of an a
