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b. 170

composition: Op. 38, Ballade in F major

..

In the 2nd half of the bar Chopin wrote the R.H. part with two separate voices. In the editors' opinion, the only reason for such a notation were the augmented primes on the 4th and 5th semiquaver. In Chopin's times the modern notation was not yet in use, and the employed method was prone to cause misunderstandings, e.g. in Ballade in G minor, op. 23, bar 170 or in Variations in B major op. 12, bar 110. Therefore, we give the original notation only in our transcripts.

category imprint: Editorial revisions; Source & stylistic information

b. 170-172

composition: Op. 22, Polonaise

 on last quaver in FE (→EE)

at end of bar in GE

 on 5th quaver suggested by the editors
..

One can have doubts whether holding pedal as long as to the last quaver in b. 170 and 172, like in FE, actually corresponds to Chopin's intention. The effect of the dominant and tonic chords temporarily overlapping could have been intentional; however, according to us, taking into account the pedalling markings of analogous b. 64 and 66, which are shorter and compliant with the harmonic course, one can assume that the markings in the discussed bars may be inaccurate. Due to this reason, in the main text we move the  marks under the 5th quaver.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 170

composition: Op. 50 No. 3, Mazurka in C♯ minor

..

The last R.H. bottom voice crotchet in EE is a1, which is a mistake. It was most probably EE in which this patent Terzverschreibung was committed, since FE does not reveal traces of corrections in this place.

category imprint: Interpretations within context; Differences between sources

issues: Errors in EE , Terzverschreibung error

b. 170

composition: Op. 50 No. 3, Mazurka in C♯ minor

..

The R.H. bottom voice crotchet on the 2nd beat of the bar is written in AI as f1. Chopin changed it to g1 while writing AF – one can see a crossed-out f1 next to the note.
In EE – just like in b. 164 – cautionary naturals were added before b and a.

category imprint: Differences between sources

issues: EE revisions , Enharmonic corrections

b. 170

composition: Op. 23, Ballade in G minor

b2-b2 & e2-c3 in A (→FE) & GE3 (→GE4)

b2-b2 & e2-c3 in A (→FE) & GE3 (→GE4)

b2 & e2-b2-c3 in GE1 (→GE1a,GE2) & EE

b2 & e2-b2-c3 in GE1 (→GE1a,GE2) & EE
..

In A (→FE), the b2-b2 augmented unison is written in such a way that the stem reaches only the left notehead (b2). In A, the notation is clear, since the stem is placed to the right of the notehead, hence it falls between both notes, and the gap between the right note and the next e2-c3 sixth is evident. However, FE, although the notation is practically the same, placed the stem (in accordance with the rule) to the left of the b2 notehead, while b2 is so close to the sixth that both GE1 (→GE1a,GE2) and EE interpreted these notes as a chord: e2-b2-c3. It was only GE3 (→GE4) that guessed how the version of FE is to be understood. See also b. 171.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Errors in EE , Errors in GE , GE revisions