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b. 7-15
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composition: Op. 63 No. 1, Mazurka in B major
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In bars 7 and 15 the sources do not contain sharps over the mordents. There are no doubts as to the sound of the top note, while the notation is inaccurate, as usual in such situations in Chopin's works (in bar 7 it concerns only AI and GE3 due to the misplaced category imprint: Interpretations within context issues: Errors in FE , Accidentals in different octaves , GE revisions , Errors repeated in GE , Errors repeated in EE |
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b. 7
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composition: Op. 2, Variation IV, primitive version
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In the 1st half of the bar, the L.H. part bears traces of corrections in AsI. While working on this manuscript, the initial version: category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes , Corrections of AI |
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b. 7
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composition: Op. 2, Variation IV, primitive version
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As in bars 1-2 and 5-6, in AsI Chopin kept the position of the hemidemisemiquaver figures, in spite of the melody semiquavers, which are each time farther away. In the final version, he reduced the distance between the melody semiquavers and the preceding arpeggio-like figures. The same in bar 23. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 7-8
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composition: Op. 63 No. 1, Mazurka in B major
category imprint: Differences between sources; Corrections & alterations issues: Corrections of AI |
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b. 7
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composition: Op. 63 No. 1, Mazurka in B major
category imprint: Differences between sources; Corrections & alterations |
mark in the remaining sources). In the versions 'edited text' and in the main text we add the absent accidentals.
1-c1 in 
was ultimately replaced by the one we give in our transcription. Chopin then once more changed the 2nd and 3rd hemidemisemiquavers in the 1st figure of the bar; in 
in 