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b. 229
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composition: Op. 44, Polonaise in F♯ minor
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On the 2nd beat of the bar AImaz features an f category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
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b. 229
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composition: Op. 23, Ballade in G minor
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FE (→GE,EE) added an unobvious cautionary category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE |
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b. 229
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composition: Op. 23, Ballade in G minor
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EE1 (→EE2) overlooked the naturals to the octave on the 3rd crotchet. The mistake was corrected by EE3. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in EE |
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b. 229
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composition: Op. 49, Fantaisie in F minor
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Chopin probably added a pedal change in this bar to A after [FC], the basis for FE, had been finished. However, both versions can be considered equal, since in similar situations, when the following passage is based on the same chord, Chopin would use a continuous pedal, as in the FE version (→EE1). The pedal markings of EE2 were added on the basis of GE1, yet the category imprint: Differences between sources issues: EE revisions , EE inaccuracies |
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b. 229
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composition: (Op. 4), Sonata in C minor, Mvt I
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In A the d1 notehead in the 2nd L.H. quaver does not align with g and f1 (vertically) and is not adjacent to this quaver's stem. Perhaps this is why it is absent in GE (→FE,EE,IE). The regular nature of this chordal sequence makes a very strong case for the presence of this note (cf. also bars 71-72). category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Inaccuracies in A |
-a-d
to a in the 2nd crotchet. It suggests that it was Chopin who performed it, since a few other situations prove the composer's subconscious uncertainty as to the validity of a 3rd key signature 
, e.g. the mistake in b. 231.
in 
