Issues : Errors of GC
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b. 9-10
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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No category imprint: Differences between sources issues: Errors of GC |
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b. 10
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composition: Op. 25 No 11, Etude in A minor
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The long accent was probably overlooked in GC (→GE). Similarly in analogous bar 74, in which, however, the sign is present only in EE. category imprint: Differences between sources issues: Errors of GC |
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b. 10
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composition: Op. 25 No 10, Etude in B minor
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The E-e octave at the end of the bar in GC (→GE) is almost certainly the copyist's mistake, who inaccurately repeated the previous bar. In the version of FE and EE, adopted in the main text, Chopin smoothly changed the interval between the parts of both hands from octave to sixth, as part of the D minor chord, being the base of the 2nd half of the bar. category imprint: Differences between sources issues: Errors of GC |
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b. 11
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composition: Op. 25 No 11, Etude in A minor
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In the 2nd half of the bar, the only accidental in the part of the R.H. in GC, FE and EE1 is a category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Errors in FE , Errors in EE , GE revisions , Omission of current key accidentals , Errors of GC |
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b. 11-12
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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No accents in GC (→GE) is almost certainly an oversight of the copyist, who overlooked all signs between the staves in bars 7-13. The short accents in EE are certainly a result of the standard interpretation of the notation of FE. category imprint: Interpretations within context; Differences between sources issues: Long accents , EE inaccuracies , Errors of GC |
in 
raising d3 to d
3. The notation, although inaccurate, determines also the sound of the 6th and 10th semiquavers in the 2nd half of the bar as d
) as resolution. The sharps raising the discussed notes to f
