Issues : Errors repeated in GE
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b. 18
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composition: Op. 16, Rondo in E♭ major
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FE (→GE) did not repeat accidentals in the section of the scale placed under the octave sign. The notation of EE is compliant with the contemporary rules. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , Errors repeated in GE |
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b. 19
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composition: Op. 28 No. 8, Prelude in F♯ minor
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None of the sources includes a category imprint: Interpretations within context; Editorial revisions issues: Omissions to cancel alteration , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 19
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composition: Op. 28 No. 22, Prelude in G minor category imprint: Interpretations within context; Differences between sources issues: EE revisions , Omission of current key accidentals , Errors of A , Errors repeated in GE , Errors repeated in FE |
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b. 21
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composition: Op. 28 No. 8, Prelude in F♯ minor
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In the sources, there are no accidentals before the first and last notes of the 3rd L.H. figure. Therefore, the bottom one should be interpreted as a category imprint: Interpretations within context; Editorial revisions issues: Omissions to cancel alteration , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 21
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composition: Op. 28 No. 8, Prelude in F♯ minor
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The fourth demisemiquaver of the 3rd group and the 3rd note of the 4th group should be interpreted in A (→FC→GE) as g2, since there are no accidentals next to them, and the note at this pitch in the 2nd group is provided with a category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Errors of A , FE revisions , Errors repeated in GE |
restoring b1 in the 3rd to last demisemiquaver. A comparison with two previous appearances of that bar – b. 1 and 5 (b. 2 is marked in an abridged manner as a repetition of b. 1) – proves that it was Chopin's mistake in 
lowering a1 to a
1. The obvious inaccuracy was spotted only in 
due to the 
in the previous figure (it is particularly clear in the notation of the sources, in which the 3rd figure is still written in the bass clef). Naturally, it is Chopin's oversight – the harmonic context requires the notes to be interpreted as a1 and a; in such a situation, the top one does not need a