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b. 351

composition: Op. 31, Scherzo in B♭ minor

on 2nd beat in A (→FE→EE)

mid-bar in FC

 at end of bar in GE
..

In the main text we give the  mark in the middle of the bar, as written by Chopin in FC (it is one of the possible interpretations of the notation of A). In turn, the version of GE may be considered an interpretation of the notation of FC, perhaps accurate, since  in FC is close to the next  (cf. also the pedalling of FC 4 bars later). 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in A , Authentic corrections of FC

b. 351

composition: Op. 31, Scherzo in B♭ minor

..

GE2 omitted a staccato dot to B in the L.H. – certainly an engraver's oversight. The mark was added in GE3.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 352-366

composition: Op. 39, Scherzo in C♯ minor

..

In EE a cresc. marking written out by a whole word and split into syllables. This is an example of a characteristic manner of this edition.

category imprint: Source & stylistic information

issues: EE revisions

b. 352

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

a2 in A (→GE)

d2-a2 in FE (→EE)
..

A more accurate specification of the unexpected B7 chord in the solo part already at the beginning of the bar must be a Chopinesque improvement introduced in the proofreading of FE (→EE). It is already a second change in this bar with respect to the earliest preserved version, after the rhythmic diversification – see the adjacent note. 

category imprint: Differences between sources

issues: Accompaniment changes , Authentic corrections of FE

b. 352

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

..

The layout of the notes in A suggests that the group of quavers initially included only four notes: .

category imprint: Corrections & alterations

issues: Corrections in A , Main-line changes