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b. 220-243
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composition: Op. 44, Polonaise in F♯ minor
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These bars – from the 2nd quaver in b. 220 – have their prototype in the second part of AImaz. In this autograph they were written down – as was the case with the first phrase corresponding to b. 200-206 – half a tone lower (from B category imprint: Corrections & alterations; Source & stylistic information |
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b. 220-242
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composition: Op. 44, Polonaise in F♯ minor
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The final version and AImaz differ in the use of dotted rhythms ( category imprint: Corrections & alterations; Source & stylistic information issues: Dotted or even rhythm |
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b. 220-221
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composition: Op. 23, Ballade in G minor
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In A, there are no rests in the top voice. Chopin would often omit such rests in obvious situations; however, he was not always consistent – cf. b. 216 (without rests) and 218 (with a rest). Anyways, the two-part notation is marked by the direction of the stems. This notation was reproduced by FE, yet rests were added in b. 221, perhaps at Chopin's request. Therefore, in this situation b. 220 having been left without a rest must be considered an inadvertence, hence, to avoid doubts, we add a rest also in this bar in the main text. In GE and EE the absence of a rest prompted the engravers to make the stem of the c minim point upwards, which turned an inaccurate notation into a wrong notation. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in EE , Errors in GE , GE revisions , Authentic corrections of FE , FE revisions |
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b. 220-221
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composition: Op. 23, Ballade in G minor
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In A (→FE) there are neither cautionary naturals to f1(2) nor flats lowering a2 to a category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 220
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composition: Op. 49, Fantaisie in F minor
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The FE (→EE1) version, identical to the one in bar 204, is almost certainly earlier and was changed by Chopin in A after [FC] had been finished. Such rhythmic changes to the melody, introduced in the last stage of works on a piece, are to be found in Chopin's pieces on a number of occasions – see the Mazurka in G minor, Op. 24 No. 1, bar 59. The corrections visible here in A seem to concern a different version, probably erroneous – Chopin probably deleted here the a category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Deletions in A |
major in b. 220-226 to E
or 
or similarly in twice as big rhythmic values). In two places the dotted rhythm was eventually replaced with even values – in b. 220 and 227. The opposite occurred five times – in b. 231, 234-235, 241 (the 2nd and 3rd beats) and 242 (the 1st beat).
was added to f3. 
1 and g