|
b. 320
|
composition: Op. 2, Variations, complete
..
The left-out accent and wedges must be a mistake by FE and FESB. In the case of FE1 (→FE2), according to us, the possible reason could be – as in the previous bar – the introduction of the ossia più facile version, marked by the use of a smaller font (see the note in bar 319). category imprint: Differences between sources |
||||||
|
b. 320
|
composition: Op. 2, Variations, complete
..
The missing slur in FE must be a mistake, as in the case of the accent and wedges – see the previous note. category imprint: Differences between sources |
||||||
|
b. 320
|
composition: Op. 2, Variations, complete
..
The sources do not include an accidental over the mordent. In this harmonic context, the use of b category imprint: Interpretations within context; Editorial revisions |
||||||
|
b. 320
|
composition: Op. 49, Fantaisie in F minor
..
The bottom note of the 2nd R.H. chord is a d category imprint: Interpretations within context; Differences between sources issues: Errors in FE , FE revisions |
||||||
|
b. 320-321
|
composition: Op. 49, Fantaisie in F minor
..
At the beginning of bar 320 and at the end of bar 321, in GE, and on the basis thereof also in EE2, regular bar lines were replaced by double bar lines. It is an arbitrary decision, contrary to Chopin's practices in this respect – he did not use double bar lines automatically when changing time signature or key. category imprint: Differences between sources issues: EE revisions , GE revisions |
is obvious, hence in the main text we add a 
over the ornament. Chopin hardly ever put accidentals over trills or mordents in such situations, generally leaving the task of finding the right sound of the auxiliary note to the performer's imagination.