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b. 220
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composition: Op. 22, Polonaise
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The version of GE, although harmonically possible, must be a mistake. It is proven by the version of FE (→EE), compliant with the incontestable text of analogous b. 76. category imprint: Differences between sources issues: Errors in GE |
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b. 220-221
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composition: Op. 35, Sonata in B♭ minor, Mvt I
..
In [A], there was neither category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , FE revisions , Errors repeated in GE , Errors repeated in EE |
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b. 220
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composition: Op. 44, Polonaise in F♯ minor
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The earlier start of the slur probably resulted from an inaccurate notation of [A]. A new phrase clearly begins on the 2nd quaver, which is confirmed by the slurring of all analogous places – b. 200 as well as 141, 143, 161, 163 and 202. category imprint: Differences between sources issues: Inaccurate slurs in A |
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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 |
1-a1 in 
raising g3 to g
3 in the last crotchet of bar 220 nor 
raising 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).