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b. 186
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composition: Op. 2, Variations, complete
..
In this place, the fingering added by GE2 (→GE3,FESB) is compliant with Chopin's preference – cf., e.g. the fingering of the repeated notes entered into the pupils' copies of the Waltz in E category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE |
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b. 186-190
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composition: Op. 2, Variations, complete
..
As was the case with b. 114-115, Chopin provided the repeated notes in b. 186 and 190 with staccato dots, and not with wedges, as it was reproduced by GE (→FE,EE,FESB). category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 186-187
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composition: Op. 49, Fantaisie in F minor
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The slentando - - indication was almost certainly added to A after [FC] had been finished, which is indicated by its absence in FE (→EE1). In GE the dashes marking the range thereof were led only to the middle of bar 187, while in EE2, in which the indication was added on the basis of GE1, there are no dashes at all. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Inaccuracies in GE |
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b. 186
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composition: Op. 49, Fantaisie in F minor
..
As in bar 184, both positions of the category imprint: Differences between sources |
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b. 186
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composition: Op. 49, Fantaisie in F minor
..
The missing first tie to B category imprint: Differences between sources issues: Errors in GE , GE revisions |
, Op. 18, b. 21-25. Therefore, it could be coming from him; however, for the reasons discussed in the characterisation of 
mid-bar in 
