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b. 251
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composition: Op. 49, Fantaisie in F minor
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In FE (→EE) the version of the bottom note of the 3rd quaver most probably resulted from Chopin's proofreading, which is indicated by the traces of corrections performed in print here. However, it is difficult to say what was being corrected, hence we cannot say that Chopin replaced the A sixth with the FE octave. Both versions are musically justified, both in terms of sound and voice leading, hence they can be considered equal variants. In the main text we give the version of the principal source, A. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 251
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composition: Op. 49, Fantaisie in F minor
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In A and FE1 there is no category imprint: Differences between sources issues: GE revisions , Omission of current key accidentals , Authentic corrections of FE , FE revisions , Errors repeated in FE |
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b. 252-259
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composition: Op. 43, Tarantella
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In all the sources accents in bars 252-259 are completely arbitrary. In A there are only two accents in b. 252 are marked along with the one on the first beat of b. 253. In GE there are no accents marked, while in the other sources they are missing from b. 253 only. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FC |
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b. 252-253
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composition: Op. 43, Tarantella
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In all the sources except A the slur over the phrase ends in b. 251. In GE the same slur extends over to the first note of b. 252. The first beat of b. 252 is covered by a separate slur in these sources. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Inaccuracies in FC |
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b. 252
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composition: Op. 43, Tarantella
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In GE1 in the second half of the bar in LH D category imprint: Differences between sources issues: Errors in GE |
1 in 
to the bottom note of the 7th quaver (g
-d