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b. 470

composition: Op. 31, Scherzo in B♭ minor

..

Just like in b. 360 and 462, A (→FC,FE→EE) features a cautionary  before g. The superfluous mark was removed in GE. In this context it is also the  before d, present in all sources, that is unjustified, hence we omit it in the main text.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals , Last key signature sign

b. 470

composition: Op. 31, Scherzo in B♭ minor

Long accent in A

Short accent in FC (→GE) & FE (→EE)
..

The mark in A bears all the hallmarks of a long accent. In spite of that, both in FC (→GE) and FE (→EE) it was reproduced as a common short accent, which, according to us, may be considered an acceptable variant.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE , Inaccuracies in FC

b. 471

composition: Op. 39, Scherzo in C♯ minor

..

In FE the first quaver a2 is printed at the right height but without a ledger line, which was corrected in FE2.

category imprint: Source & stylistic information

issues: Errors in FE

b. 471-472

composition: Op. 21, Concerto in F minor, Mvt III

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In A the only accidentals in each of these bars are two flats before the 1st quaver in the R.H. All 9 remaining necessary flats were added already in GE1 (→FE→EE, GE2). All next passages until bar 479 are written in a similarly simplified manner – cf. bars 473, 474-475, 476-477, 478-479. We regard all added accidentals in bars 471-479 as a revision, although it cannot be excluded that Chopin participated, even partially, in proofreading works on GE1.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 471

composition: Op. 11, Concerto in E minor, Mvt I

No sign in FE (→GE,EE)

Slur in FED (literal reading)

Slur in FED (possible reading)
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The slur could have been added in FED, see the note in bar 470; it reaches the 2nd crotchet in the bar. According to us, it is, however, highly likely that Chopin wanted to use it to emphasise the d1-e1 step in the tenor voice.

category imprint: Graphic ambiguousness; Differences between sources