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b. 7-8

composition: Op. 28 No. 6, Prelude in B minor

Fingering written into FEJ

Fingering written into FES

No teaching fingering
..

In the main text we include the fingering written in FES, partially confirmed also by FEJ.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ

b. 7-13

composition: Op. 28 No. 7, Prelude in A major

Ties in GE2 (→GE3)

No ties in remaining sources
..

The ties of c1 in b. 7 and of b1 in b. 13 must be revisions of GE2 (→GE3), inspired by the authentic ties of d1 in b. 5 and of c2-e2 in b. 11. The revision can be considered incomplete – c2 was overlooked in a similar context in b. 3.

category imprint: Differences between sources

issues: GE revisions

b. 7-8

composition: Op. 28 No. 7, Prelude in A major

with bass in A (→FC→GE, →FE→EE)

 under semiquaver in CXI

No markings in CGS
..

The position of the  mark in CXI may be inaccurate or constitute a potentially authentic variant of pedalling – see b. 5-6. The missing  mark in b 8 is almost certainly an oversight.
No pedalling markings in CGS – see b. 3-4.

category imprint: Differences between sources

b. 7

composition: Op. 28 No. 8, Prelude in F♯ minor

..

There are no accidentals before the last pair of demisemiquavers in A. Therefore, they should be interpreted as c2 and c3 (the  before the 5th demisemiquaver of the bar is in force), which is, of course, impossible. In this Prelude Chopin took it for granted that the second and last demisemiquavers in each group are an octave higher than the preceding melodic note, thus he marked precisely only the pitch of the melodic notes (cf. b. 1-4). Therefore, there are no doubts that it is the bottom note that is written correctly, c2, and the inaccuracy concerns the top note, which must be a c3. Interestingly enough, the absence of a  restoring c3 was not noticed in any of the remaining sources, even in GE2, in which a cautionary  was added before c2.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Omissions to cancel alteration , Errors of A

b. 7

composition: Op. 28 No. 8, Prelude in F♯ minor

..

In A one can see a crossed-out  before g2, the 5th demisemiquaver in the last group, which proves that Chopin verified the accuracy of accidentals.

category imprint: Corrections & alterations; Source & stylistic information

issues: Deletions in A